A mediodía 1967

Editor: Here we have Lilia Carrillo's "A mediodía" from 1967, an oil painting that feels both ethereal and grounded. There's a push and pull between the light washes of color and the more defined shapes. What symbols or imagery stand out to you in this piece? Curator: What strikes me immediately is Carrillo’s negotiation with space and form. Notice how the forms, while abstract, seem to allude to biological shapes – perhaps cellular structures or even landscapes viewed through a microscope. Do you see how these resonate with pre-Hispanic codices? She's delving into a kind of visual language that predates colonial influence, attempting to tap into a collective, almost subconscious memory. Editor: I hadn’t considered the connection to pre-Hispanic imagery. The floating forms now seem less random and more deliberate, like glyphs I can't quite decipher. Curator: Precisely! Think about the emotional weight those indigenous symbols would have carried. This work embodies Art Informel which privileged intuition, pushing against academic structure and celebrating an immediate, authentic form of expression. It also resonates with a sense of searching, doesn't it? Editor: Absolutely. There’s a sense of searching for meaning, not just presenting it. A conversation with the self. Curator: It’s like an excavation, peeling back layers of cultural memory to reveal something essential about the human condition. It's fascinating to consider her exploration of national identity in post-revolutionary Mexico. Editor: This exploration of symbols and subconscious connections has given me a completely new perspective on Carrillo’s work. I see the cultural memory much more clearly now. Curator: And that's the beautiful thing about art - it speaks to us in a language beyond words.