Maelstream 1976

Editor: Here we have Friedel Dzubas's "Maelstrom" from 1976, created with acrylic paint. It is an abstract painting, and what strikes me most are the earthy colors. How do you interpret this work? Curator: This piece sits firmly within the Color Field movement, born in the wake of Abstract Expressionism. These artists, many of whom were queer, like Helen Frankenthaler, pushed for a dismantling of traditional hierarchical structure within painting. Think about how a field of colour invites you in to roam with your eye, unlike a subject placed centrally that demands immediate focus. What does that suggest to you about how we view, or consume, other things in the world, like people for instance? Editor: So you’re saying the abstraction and lack of a clear focal point is a deliberate rejection of established norms? Curator: Precisely. The title itself, "Maelstrom," suggests a turbulent state. The lack of defined forms and the blurring of colors could reflect the destabilization of identity categories, the fluid experience of self. Think about it during the 1970s. Feminist and queer activism questioned rigid gender roles and societal expectations. Perhaps Dzubas captured that spirit of resistance on canvas. Does this make the colours seem less "earthy" to you now? More symbolic? Editor: Definitely! Now I see the colors as representing something much deeper than just… earth. It reflects a societal upheaval. It's pretty amazing how art can encapsulate and comment on a cultural moment like that. Curator: Absolutely, and by considering those socio-political undercurrents we gain a richer, more nuanced understanding of what it means to interpret abstract art. Hopefully, by viewing artwork in such context we come to learn about ourselves and society better, as well. Editor: Thank you, I now have new context to analyze art of the era.