The Dawn Watering 2018

Curator: Here we have Soey Milk's 2018 drawing, "The Dawn Watering," a title that suggests the themes of growth and renewal that are present throughout Milk’s work. Editor: It’s so delicate, almost ephemeral. The grayscale rendering contributes to this sense of gentle, dreamlike tranquility. Is it pencil or charcoal? The light seems to be its primary material. Curator: Indeed, her work is defined by graphite pencil drawing, allowing for these gradients and wispy, delicate lines. She focuses on creating a scene, staging it with real people. This process and then using social media for audience reception makes it different than just realism. Editor: Look at the subtle motifs throughout. The stars—or are they blossoms?—on the pillow and blanket are such a clear image of freshness and budding potential. Her hair merges almost seamlessly into the fabric; even her own hand echoes those blooming shapes. There's an intense continuity here. Curator: I’m interested in that hand though. It enters the frame disembodied, interrupting the portrait. What does this disruption say about the traditional subject? It may be symbolic of art viewers who appropriate the image in an age of rapid image consumption. It’s about art and its influence and about access to our dreams in general. Editor: I hadn’t considered the external imposition on the intimate dream-space. To me, it also echoes classical gestures in iconic works, pointing towards an ideal of feminine beauty—but there’s something very melancholic in how the woman turns away. It is not overtly staged. The red chop marks almost look like stains of pigment, but it pulls you out to confirm its material. Curator: Exactly. We see the clear traces of production as we move away from the ideal, but now I understand it on both of our terms: material and sign. Editor: Yes, the blend of tradition with modern themes truly gives it layers, doesn't it? Curator: I quite agree, an accessible yet thought-provoking work.