Canto XVIII: [no title] 1982

Curator: This is an untitled image from Canto XVIII by Esq Tom Phillips. It’s held here at the Tate. Immediately, I’m struck by the texture. Editor: Yes, there’s a real rawness to the process. It makes me think about the kind of labor involved in creating this work. It has a somber mood but is the product of a man born into and during the height of the British empire and the second World War. Curator: Right. The red almost feels like an act of resistance, a bloody wound in this otherwise muted scene. Look at how it contrasts with the figure. What do you see in that? Editor: The figure seems caught, trapped maybe? It sits, uncomfortably it looks like, with what appear to be prison walls or some kind of barrier on all sides. It almost gives me the impression of being in a womb. Curator: Very interesting point. It could also be Phillips’ way of pushing us to confront power dynamics and their impact on the human form. Editor: Absolutely. And by examining the materials and process, we gain insight into the artist's labor and the cultural context shaping the art. Curator: True, this piece showcases how art and material production can intersect. Editor: It reminds us that even in apparent abstraction, art is always embedded in history and power.