The parting of Hector and Andromache #3 2010

Curator: Standing before us, we have Alexander Roitburd's "The Parting of Hector and Andromache #3," created in 2010 using oil paint and acrylic on canvas. Editor: My first reaction is one of visceral unease. The distortion and starkness in the figure is quite…unsettling, yet compelling in its raw vulnerability. Curator: Indeed. The choice to invoke Hector and Andromache, figures deeply embedded in the historical narratives of love, war, and loss, is fascinating. How do you feel the art engages with socio-political themes? Editor: I'm seeing a subversion of classical ideals. The bodies, fragmented and grotesque, are devoid of heroic grandeur, stripping the narrative of its conventional political purpose. It prompts us to consider the human cost of war. Curator: I am also struck by the handling of materials. There seems to be heavy impasto, and bold brushstrokes are quite visible. How do you interpret that? Editor: It amplifies the expressionistic nature, creating a tension that mirrors the inner turmoil. Roitburd is not interested in portraying beauty, or even realism; he prioritizes conveying raw emotional states through his chosen medium. This rejection could align it to the legacy of Neo-Expressionism. Curator: Roitburd's status as an artist who navigated shifting political landscapes in Ukraine definitely shaped his lens. One wonders about his views on power and how that finds a visual place here? Editor: The image is about making us, the audience, participants in the disrobing, or should I say, decoding, of authority. I think Roitburd has crafted a narrative not just about mythological lovers but also the breakdown of societal narratives. Curator: So, a potent blend of personal struggle and larger historical contexts then. It highlights the lasting role that imagery has to challenge political ideas. Editor: And the making becomes another layer of interpretation – a Neo-expressionist revolt against complacency. Fascinating to ponder!