Trout 1956

Curator: Paul Rebeyrolle's work, “Trout,” held at the Tate, presents a compelling study of form and material. The support measures nearly 80 by 120 centimeters. Editor: It’s a brooding, almost violent painting! The colors are earthy and dark, yet there's an energy that almost shimmers, like sunlight underwater. Curator: Rebeyrolle's handling of paint is quite physical here. The thick impasto and layering demand we consider the very act of painting as a form of labor. Editor: I can almost feel his frustration, or perhaps his love for the subject. It reminds me of fighting to hold onto a slippery idea, like trying to catch a trout with my bare hands. Curator: Yes, consider the fishing industry, the socio-economic implications of such a raw and powerful depiction of nature as commodity. Editor: It’s a wild painting. I wonder what he was feeling when he made it. A strange mix of power, fear, and primal connection, I think. Curator: A fascinating testament to the artist's ability to render labor and materiality visible. Editor: It certainly gives you a lot to think about, doesn't it? A swim in deep, murky waters.