Ornamenten c. 1925

Editor: This is "Ornamenten," a drawing by Carel Adolph Lion Cachet, made around 1925. It looks like pencil on graph paper. It has an improvisational feel; what strikes me is how abstract and free-flowing it seems, even within the strict geometry of the grid. What do you see in this piece? Curator: It presents a fascinating interplay between order and chaos. Notice how the underlying grid structure attempts to impose a rational framework, yet the artist's lines consistently defy and overflow this imposed system. The varied line weights also command attention, creating emphasis and a sense of depth, albeit a shallow one. Editor: So, it’s not just random scribbling? Curator: Certainly not. Consider how Cachet employs line quality - its density, its curvature - to build up the image. See how some areas are deeply etched, while others are barely there, like a fleeting thought. He deliberately destabilizes any fixed meaning through pure form. Editor: That makes sense. It's like he's setting up a visual push and pull. Curator: Precisely. Furthermore, analyze the overall composition. It hints at symmetry, but never fully resolves, keeping our gaze constantly active. It is an open composition, actively questioning the possibility of resolution within a pre-set frame. How do you see this idea working today? Editor: That's a great point! I’d not considered the balance that's so close, but then deliberately skewed, disrupting any easy reading of the symmetry...I appreciate seeing this piece through that formal lens! Curator: Indeed. And hopefully, through rigorous observation of the artwork's intrinsic elements, one might extract invaluable insights into not only Cachet's practice but also abstraction as a language itself.