Hastings, East Sussex 

Editor: We are looking at "Hastings, East Sussex", an oil painting possibly en plein-air by William Collins. The subdued colors create such a quiet atmosphere. What do you see in this piece? Curator: Immediately, I'm drawn to the visible brushstrokes and the materiality of the paint itself. This wasn't just about representation; it's about the act of making. What does this visible labor tell us about Collins’ relationship to craft and artistic production in his time? Editor: That's interesting. I hadn’t really thought about the brushstrokes as a sign of labor. Does that mean the choice of painting outdoors also carries significance? Curator: Precisely. Plein-air painting democratizes art making by removing it from the exclusive realm of the studio, engaging with ordinary life and its materials. It acknowledges a relationship between the labor of painting, of shipbuilding, fishing. How does seeing those processes side-by-side influence our reading? Editor: So, it's less about the scene itself, and more about the materials and the social context surrounding its creation. The everyday realities for working people and the act of the painter translating that. I'm beginning to appreciate that! Curator: Exactly! Now consider where these paintings were displayed and consumed. The material reality of the painting and its production are inextricably tied to questions of class, labor, and accessibility. What’s the story that’s painted but isn’t about “pretty” landscapes? Editor: This has really reshaped my view! I used to focus on subject and aesthetic, and this reveals an economic, labour-focused story too. Curator: Indeed, by exploring the materials and the social conditions of art production, we get a much richer understanding.