Odalisque 2017

Editor: We are looking at Luis Álvarez Roure’s “Odalisque” from 2017, made with acrylics on canvas. It strikes me as both classic and modern, and I find the rendering of the body so realistic. How do you interpret this work? Curator: The artist displays careful attention to form through light and shadow to give a certain realistic expression to the painting. Notice the tonal gradations along the torso and legs, creating a play of convexities and concavities. Observe also the juxtaposition of cool, saturated greens and reds, giving chromatic depth to the background. What feelings arise as you consider the relationship of the subject and ground? Editor: Well, I'm intrigued by how her gaze seems to acknowledge us as viewers. The formal composition draws from classical painting and is at odds with what seems like an acknowledgement of contemporary realism. Curator: A very insightful reading. Indeed, one could also discuss the compositional elements echoing back to historical works of similar posture by masters such as Titian or Ingres, albeit without a narrative or the kind of orientalist fantasy we could associate to such pieces. Can we, therefore, talk about subversion here? Editor: That's a good question. I'm also not entirely sure if I feel entirely comfortable as the painting seemingly replicates this male gaze onto the female form. Is there any agency of her own? Curator: Considering your unease in assuming the painting’s invitation to regard the female nude, think more of your own positionality as a beholder and reflect upon how your own context affects your viewing of the work. Editor: Thank you, I will consider that! This dialogue made me look differently at the painting and see not just what is present on the canvas but what I bring to the canvas, too. Curator: Precisely, this engagement of the elements of artistic composition with external thought makes for interesting and engaging artistic expression!