La famille 1991

Editor: This is "La Famille," created by Paul Guiragossian in 1991 using oil paint. The colours feel so muted yet vibrant. There is an energy, but also a certain melancholic mood, with the faceless figures standing close together. What do you see in this work, especially concerning its materiality? Curator: Looking at "La Famille" through a materialist lens, I'm immediately struck by Guiragossian's visible engagement with his materials: thick impasto, the rough texture created by layering oil paint. What kind of labor does this imply, given the social and political context of Lebanon at the time? Does it connect to a tradition of expressionistic painting? Editor: It seems like he isn’t trying to hide the physical process of creation, but instead puts it on display. Considering the state of Lebanon in 1991 after years of conflict, could these roughly formed figures and use of such material reflect societal weariness? Curator: Exactly. The labor of applying the paint mirrors the labor of surviving during wartime, perhaps. This material treatment moves it away from traditional, idealized portraiture. How does this heavy materiality affect the viewer's interpretation of 'family', compared to a polished family portrait, traditionally intended to highlight wealth and societal status? Editor: The thickness of the paint almost creates a barrier between the figures and the viewer; it is like the material embodies both fragility and resilience, a poignant representation of what family could signify within a war-torn state. The roughness seems like it breaks down the idealised notions of family. Curator: Precisely. It highlights the social reality over idealized representations, placing emphasis on the consumption of materials and labour involved. It shows us a truer story of life during that era, wouldn't you agree? Editor: I do agree. Thinking about it in this way really sheds light on how the physical properties of the work reflect the social climate of the time. Curator: Indeed. Hopefully this view shifts perspectives when looking at any kind of artwork.