Guinea: village Koyak 1961

Editor: We’re now looking at "Guinea: village Koyak," a 1961 painting by Mariam Aslamazian. It feels like a glimpse into a simpler world, perhaps a brief stop during her travels? The loose brushstrokes and earthy tones give it such a raw, immediate feel. What draws you in? Curator: Immediate indeed, I can almost feel the Guinean sun beating down on the scene. This, for me, sings of 'plein-air', doesn’t it? It is like she's capturing a fleeting moment, not striving for photo-realism, but something more – the *essence* of the place, its heart, almost. See how she layers the shades – those dark shadows offer coolness and quiet in a world baked dry by heat. Editor: That's so true. I didn’t pick up on how cleverly the shades create the mood, or what the choice to quickly "dash" the painting meant beyond ease of execution. I'm wondering now what the relationship between light and colour may tell about the period. Curator: Consider the colours for a moment. Browns, muted greens... This palette evokes something beyond visual accuracy. Don't you agree the composition almost tells a story? The colours lend it authenticity and her post-impressionistic influence only adds weight to the narrative. Now that I see it again, a touch of fauvism might have been present too, to inspire Aslamazian! The bright colours – the dash of pink here, a flash of yellow there, aren't necessarily *realistic*, per se. It's more about emotional honesty, if you allow. Editor: I absolutely see what you mean about the balance and the emotions portrayed! The touches of colour, the depth of shadows… It all tells a story that the landscape might conceal from first sight. Curator: Precisely! So much feeling captured with such quick and intuitive strokes. And I learn every single time.