A Headland 

Curator: Alexander Cozens' "A Headland," a small ink drawing, presents a serene coastal scene. The delicate lines suggest a distant shore. Editor: It evokes a feeling of solitude. The sparseness of the drawing, the muted tones...it hints at a meditative space. Curator: Cozens was fascinated by blots, accidental ink spills that he'd then develop into landscapes. What do you make of the blot technique here? Editor: Well, the mountains, for instance, those craggy peaks almost seem to loom with unspoken narratives, mythic weight maybe. Curator: I'm interested in the paper itself, its texture, its slight imperfections. This was a readily available, relatively inexpensive material. How does that influence our reading of it? Editor: Perhaps it democratizes landscape, taking it away from the grand oil paintings, into something more personal, more accessible. Curator: Precisely! It's a reminder that art isn't just about finished products, but also the accessible materials and the means by which they're shaped. Editor: I agree. And those materials carry their own visual language, a history of mark-making, that speaks across centuries. Curator: It shows that art-making is also about accessibility and not just the end result. Editor: Ultimately, Cozens invites us to wander into both visible and invisible landscapes.