Inval 1990

Curator: Looking at "Inval," a painting realized in 1990 by Raoul De Keyser. What's catching your eye? Editor: It strikes me as intensely minimal. Just two blocks of colour—a muted, almost chalky white and a deep, saturated blue, separated by the barest sliver of canvas at the top. It has a quiet stillness about it, but there’s visible texture that hints at the labor behind the creation. Curator: Right, De Keyser often worked within these self-imposed constraints, reacting against the grand gestures of Abstract Expressionism. In his work, we see a deep engagement with everyday experiences rendered through pared-down abstraction. Think about the socio-political implications, the shifting art landscape—how was abstraction being reconsidered in the late 20th century? Editor: It’s a fascinating push and pull. The materiality fights that flatness. You can almost feel the drag of the brushstrokes, see where the acrylic paint has been layered, scrubbed. Is there any documentation about his studio practice, or his relationship with suppliers of materials? The subtle variances within those blocks, the imperfections—they seem deliberate, countering industrial processes. Curator: There certainly is. De Keyser deliberately sought to engage with both high art and more mundane experiences—how did this feed into notions of taste and value, questioning traditional aesthetic hierarchies? In terms of exhibition and sale, one could consider its place within contemporary markets for abstract painting... Editor: Definitely. I’m interested in this idea of labor. While seemingly simple, this canvas is charged with it. Considering his material choices and engagement with paint on this canvas shifts the focus away from pure visual pleasure and opens up discussions around process and the act of making in late modernism. The canvas isn't merely a vehicle for art but a testament to work. Curator: Indeed, looking at “Inval” through those dual lenses—historical context and material grounding— offers rich perspectives. Thank you! Editor: And thank you! It’s a wonderful encapsulation of material intention and societal framing—much to contemplate.