Jack # Martha Tabram (suspected victim) 2001

Editor: Here we have Julie Roberts' "Jack # Martha Tabram (suspected victim)," a 2001 pencil drawing. It's striking how serene the figure appears, given the title. The artist's use of the oval format, coupled with the softness of the medium, evokes a sense of classical portraiture, even of funerary portraiture. What do you see in this piece, looking beyond the subject matter? Curator: Focusing on the internal elements, one immediately notes the composition's dependence on contrast. The subject is rendered in meticulous detail while situated against a considerably darker backdrop. We observe a very tactile depiction of the subject’s garment in conjunction with an equally complex rendering of the hair. The subtle gradation of tone achieved through graphite imbues the composition with an alluring atmospheric quality. It evokes a visual weight despite the relatively small scale of the work. What does the oval format suggest to you in relation to the form of the portrait? Editor: The oval feels almost like a locket or a memento, framing and containing her image. It also focuses attention onto the face. Perhaps this speaks to the gaze – closed in rest or in death. This contrasts sharply with the dark tonality in the rest of the drawing. Curator: Precisely. Note the impeccable arrangement and tonal contrasts. Roberts masterfully handles the medium, and invites introspection into the formal aspects, and its relationship with its subject. Editor: So the somber subject, the intimate oval shape, the stark tonality and delicate pencil work are working together to build an impactful, if unsettling, image. It makes me reconsider my initial perception. Curator: Exactly. Form is intrinsically connected to subject. Roberts compels a critical approach through manipulation of line and light.