Diagonal from bright equality and contrast 1956

Editor: Richard Paul Lohse's "Diagonal from bright equality and contrast," created in 1956 using acrylic paint, presents a bold, minimalist grid. I’m immediately struck by the… well, boldness. It’s so simple, but the colors create such a strong vibration. What kind of visual language is Lohse employing here? Curator: The vibration you sense speaks volumes. Lohse is playing with the very idea of equality and contrast, not just in color, but in how we perceive symbolic systems. These blocks are not arbitrary; they're carefully considered modules meant to represent an ideal social structure, one of equality achieved through considered variation. Do you see how the arrangement avoids any hierarchy? Editor: I do. It feels balanced, even with the differing colors. So the "equality" in the title refers to social ideals? Are the colors also symbolic then? Curator: Absolutely. Consider the period. Post-war Europe was rebuilding, both physically and ideologically. Concrete Art, like this piece, rejected subjective expression in favor of universal, geometric forms. These colors, pure and unblended, act as symbolic building blocks, suggesting that a harmonious society can be constructed from distinct, yet equal, parts. What emotions do these colors evoke for you, and how do they relate to one another? Editor: I see red as passion, perhaps even anger, juxtaposed with the calming blue. The yellows feel… optimistic. It’s almost like a visual representation of conflicting, yet coexisting, emotions in a society. Curator: Precisely! The strength of this piece lies in its ability to communicate complex ideas with seemingly simple forms. By understanding the symbolism and historical context, we realize it is a potent visual statement. Editor: I never would have thought there was so much depth hidden within such a simple geometric composition. Curator: Art often speaks volumes through subtlety, inviting us to unpack the cultural memories embedded within.