Blue Mountains 2016

Editor: Rose Freymuth-Frazier's "Blue Mountains," painted in 2016, appears to be crafted from oil and acrylic paint. There's an almost dreamlike haziness to it, a sort of blended color field. What elements strike you most prominently? Curator: It's compelling how Freymuth-Frazier merges high art with traditionally "craft" based landscape painting, isn't it? I see a conscious manipulation of materials - the viscosity of oil versus the quick-drying nature of acrylic - playing a crucial role. Consider how the application itself might be commenting on mass production. Is this an attempt to elevate the act of painting itself as a form of labor? Editor: That's fascinating. I hadn't considered the different qualities of the paints impacting the meaning. Do you think the 'Blue Mountains' title is intentionally misleading, drawing us into an expectation of representational landscape before presenting us with this abstract impression? Curator: Precisely. The title acts as a commodity in itself, drawing viewers in, but then challenges that expectation through the artwork's materiality and the physical labor involved in its production. Note the horizon line is not distinct, there’s more interest in brushwork. What does this signify to you? Does it resist a clear market classification? Editor: It almost feels like the materials are the true subject here, with the "landscape" serving as a framework to explore them. I guess it encourages us to appreciate the raw materials of art production. Curator: Exactly! This reframing elevates the act of making. We aren't just consuming a pretty picture; we are engaging with the artist’s labor, and the inherent value of those materials. Editor: So, in a way, the artwork invites us to be more conscious consumers of art by highlighting its physical creation? Curator: Yes, and it also prompts a critical examination of what constitutes ‘art’ versus ‘craft’ in our increasingly mass-produced world. Editor: That really shifts how I view the painting. I'll definitely pay more attention to the materials used and the labor involved in other pieces now. Curator: Good. It’s all about questioning the process of artistic creation and consumption.