Untitled 1996

Curator: Welcome. We’re looking at an Untitled work by Arsen Savadov, created in 1996 using oil paint. Editor: Striking. There’s an immediate tension created by the contrast—almost a grotesque contrast—between the frailty of the figures and the assumed grace associated with the ballerina costume. The colors themselves add to the somber mood; I wouldn't call it joyous, exactly. Curator: The oil paint, heavily applied, emphasizes the materiality. Look closely, and you see the tangible reality of its making. The rough texture contrasts the traditional smoothness one might expect in painting figures. The process speaks to me as much as the image. It challenges preconceived notions of beauty through unconventional representations and artistic methods. Editor: Yes, but even that materiality serves a purpose in the composition. The artist’s choice to leave brushstrokes so visible draws attention to the construction of the figures and the reality of aging bodies versus the idealization inherent in ballet. The contrast is the key structural element; that and the almost symmetrical mirroring of the figures’ poses. Curator: How does this juxtaposition challenge established norms, though? Ballet is often associated with lightness, skill and extreme dedication, so I appreciate how the process contributes to the discussion around physical labor and dedication. By using oil paint, it allows Savadov to really interrogate what performance means beyond the stage. The very texture is speaking. Editor: The painting method certainly forces a more considered engagement. It pulls at something more raw about what is means to portray people. In the broader sense, these contrasting features seem designed to reveal something fundamental about perception, both the artist’s and the viewers’. There’s a deliberate discomfort created which serves to destabilize norms around figuration and portraiture, forcing the viewer to confront potentially ugly realities. Curator: Precisely. It makes visible how societal structures impact representation. We're discussing physical dedication to labor and ideals through process as well as form. I find this approach more enriching, particularly for viewers examining it here and now. Editor: It’s a challenging piece, both conceptually and formally, that encourages deeper contemplation. I do love it. Curator: Agreed, I think reflecting on this piece prompts us to question the roles we play and how art mirrors those societal narratives.