Inverness 1859

Curator: Well, look at this gem – David Roberts' "Inverness," crafted in 1859 using pencil on paper. I must say, it evokes a feeling of stillness, like holding a whispered memory. What's your take on this drawing? Editor: It gives me pause, this tranquil cityscape. There’s something deeply unsettling about such quietude in a port city. Given the year, I can't help but think about the ongoing subjugation through colonization and how this serene harbor may serve an imperial agenda. Curator: Oh, certainly, we must never shy away from uncomfortable truths, and it is easy to forget such an idea if all we observe the pencil work. But there is a kind of melancholy beauty that floats through the shading; the lines so faint you wonder if they’re about to disappear altogether. Does the weight of its history make that harder to see for you? Editor: Not necessarily harder, but perhaps it shifts the interpretation. When I observe how lightly the masts and rigging are depicted, I cannot avoid the history of exploitation intrinsic to these merchant ships. If we confront it head-on, can we find moments of resilience in artistic representations of difficult histories? How do ordinary folk resist such a heavy colonial inheritance? Curator: It is strange, isn't it? Because while the sharp spires almost look ready to break into the sky, there are still those fragile lines suggesting movement and, perhaps, progress. I would assume the inhabitants must find some agency and enjoyment in life regardless of history. Editor: Agreed, although the weight of context certainly colours my perspective. There is always an interesting dichotomy when encountering beauty paired with oppression: Roberts made several similar drawings depicting port cities worldwide. His output illustrates the sheer geographic scale of colonization by 1859. How should that fact influence our encounter? Curator: It encourages contemplation for certain, and for what its worth, perhaps Roberts sought not to celebrate these cityscapes, but simply hold up a mirror for our relection and thought. To make these statements to each other, perhaps. I know I certainly will ponder that from now on. Editor: Indeed, the act of contemplation itself becomes a radical practice. It allows for dialogue, inviting critical engagement rather than passive acceptance of colonial legacies embedded in the artwork itself. Thank you for letting me share in this reflection.