Plate 10 1940 - 1943

Curator: Welcome. Today, we will examine "Plate 10" crafted by Louie H. Ewing between 1940 and 1943. This piece is a print, likely meant to simulate textile, showcasing the aesthetics of Indigenous Americas art. Editor: It immediately strikes me as a visually dynamic textile. The intense salmon hue and geometric layout creates a wonderful sense of warmth and comfort. Curator: Indeed, the artist has carefully employed repetition and symmetry. Note how the diamond shapes are vertically aligned, separated by zig-zag bands composed with triangular tessellations that alternate colors. This visual structure generates an order pleasing to the eye. Editor: These motifs speak of a rich symbolic visual language. Diamonds, repeated throughout, historically represent dwellings or eyes and could evoke ideas of protection and shelter in a domestic space. I wonder what that intense shade of coral might have evoked. Curator: Colour, being a material signifier, is itself a visual language with significant cultural associations. I am drawn to the artist's interplay of positive and negative space to bring clarity. Editor: I'd argue those sharp angles contribute to a kind of visual energy—a tension or perhaps an anticipation of movement, despite the woven artwork’s stillness. These patterns may carry generations of wisdom. Curator: What intrigues me most is Ewing’s subtle mastery in reducing cultural significance down to abstract designs while still managing to stir feelings of nostalgia and recognition. It's fascinating. Editor: Absolutely. This work really invites you to appreciate how symbolism enriches visual experience, making familiar patterns a deep cultural connection. Curator: Reflecting on "Plate 10", one appreciates Ewing’s thoughtful ordering, presenting traditional aesthetics via form, balance, and spatial dynamics. Editor: A beautiful example of how indigenous visual language can transmit and create meaning, fostering respect and dialogue with cultures through design.