Untitled (Landscape) c. 2002

Curator: Looking at Richard Mayhew’s “Untitled (Landscape),” created around 2002 using charcoal and pencil, my first impression is of brooding power. A gathering storm, maybe? Editor: It's definitely dramatic! For me, the density of the charcoal immediately suggests the physical labor involved in building up those heavy forms, the artist pushing the medium to its limits. You can almost feel the force exerted. Curator: Force indeed. Look at the symbolism inherent in the darkness. Throughout art history, clouds have represented transition, the ephemeral nature of existence. The light barely peeks through, hinting at hope or perhaps a spiritual awakening after a period of difficulty. It reminds me of romanticist depictions of nature. Editor: And I see it rooted in the act of drawing itself. What was Mayhew trying to evoke about the possibilities and the limitations of charcoal on paper? I imagine the choices he made with each stroke. Consider that against the time and the context he worked. It almost feels to be that by considering his social roots you may read deeper signs in these simple landscapes. Curator: He certainly used the medium to convey a weight that goes beyond mere representation. Perhaps a reflection of inner turmoil translated into the external landscape? Editor: Perhaps so, and it becomes even more potent if we consider Mayhew’s engagement with jazz music and how his process resembles improvisational art creation! The gestures with materials themselves are improvisations. Curator: An interesting interpretation! The drawing certainly speaks to a depth of feeling. The simplicity of the materials focuses the eye, allows the symbolism to emerge with greater clarity. Editor: For me, it throws in new lights and angles from which one might want to start appreciating the piece and perhaps relate its processes with many others. Curator: Ultimately, it seems that Mayhew's “Untitled (Landscape)” uses symbolic darkness to suggest the ever-present potential for both chaos and renewal. Editor: Absolutely! Through material manipulation, a depth of feeling and the historical connotations is developed that can be really fascinating!