Getting To The Point 

Curator: Dan Graziano’s oil painting, “Getting To The Point,” presents a unique, upward-angled perspective of a building corner against a stark blue sky. What strikes you first? Editor: The light! The drama of the dark shadows contrasted with the intense sunlight on the orange brick is immediately arresting. The composition directs your eye upward. Curator: Yes, the architectural fragment emphasizes a particular urban aesthetic. I'm curious about how this cityscape, devoid of human presence, is essentially a commentary on urban labor and material production. The artist draws our attention to a specific detail, maybe revealing stories of labor embedded within the walls? Editor: That’s an interesting point. Formally, though, the composition hinges on that contrast—the geometrical play of light and shadow, the lines of the building converging against the expansive blue. It’s all about directing the viewer’s gaze, pushing our perspective skyward. Curator: Right, and it begs the question: who built this? With what resources? And how has the architecture shaped the community it houses? The materials and process give insight into economic systems. The anonymity feels pointed, as though the structure and its origins are obscured despite their literal prominence. Editor: While I acknowledge the obscured history you mention, the emphasis for me is on how the artist constructs visual tension. It’s a dance between flat planes of color and defined, sharp lines—purely visual. Curator: True, the artist definitely wants to stimulate the gaze, but isn’t it also a clever play on urban concealment, revealing how capital has built and obscured at the same time? Editor: Perhaps. Ultimately, it's that captivating arrangement of color and form that lingers with me, not so much the question of what’s concealed. Curator: Well, seeing both helps create a richer appreciation. Editor: Agreed. It’s definitely an image that gives a lot to consider from multiple angles.