Raiko 1973

Curator: I must say, at first glance, Ronald Bladen’s “Raiko” kind of reminds me of those precarious Jenga towers my kid builds, moments before they dramatically collapse. It has a certain unsettling balance. Editor: Indeed. Bladen crafted this piece back in 1973; it’s a fascinating exploration of form within the minimalist idiom. Its geometric shapes are presented as independent structures, seemingly at odds yet paradoxically harmonious. Curator: I'm captivated by the raw quality of the wood, juxtaposed against the hard edges and clean lines. The tension created by the black and white contrasting colors. It has the character of the kind of Japanese ink drawings called "sumi-e" that were known for their calligraphic style, often depicting scenes of nature in a zen buddhist spiritual practice, while abstract, retain some aspect of realism by allowing you to intuit its true meaning and spiritual core, with their sense of movement through stark contrasting colors and their natural form. Editor: Your mention of sumi-e introduces a conceptual link. The dynamism captured is striking. Observe how the intersecting planes define and redefine the space around them, actively inviting the viewer to experience it anew, engaging the beholder's interpretive participation in constructing meaning, reflecting perhaps the "Raiko", the sword that was forged by Munechika as it illuminates. Curator: It really pushes against its boundaries. And thinking of the samurai Minamoto no Yorimitsu, as the "Raiko" refers to in Japanese history, I wonder whether this piece seeks to engage with themes of power and aggression. There is a force of great measure at play here and with the minimalist intent on showing something in a direct form, whether "Raiko" is about strength and conviction. The contrast of color makes it easier to read what "Raiko" really is! Editor: This divergence invites reconsideration. In closing, what truly resonates with me about this artwork is its invitation to confront pure form devoid of ornament, to engage with art in its most elemental state. Curator: It’s that raw quality of its essential expression and powerful force of minimalist shape. So, is it possible "Raiko" represents a personal exploration of force through pure shape? I wonder.