Tropic 2017

Editor: So this is Monica Ikegwu’s “Tropic,” painted in 2017 using acrylic. I’m struck by how flat the figures seem against that vibrant pink background. It's almost like cutouts arranged on the canvas. What draws your attention to it? Curator: For me, the painting begs the question: how is value constructed, and who controls the narrative? We see a deliberate choice of materials – readily available acrylic – that democratizes the process of creation, sidestepping the traditionally valued oil paints. But is it really accessible for anyone? Editor: That's interesting. The clothes look almost like matching Hawaiian shirts, a mass-produced print. How does that relate? Curator: Precisely. The use of this patterned fabric, depicted in acrylic, acts as a commentary on the globalized consumption of "tropical" identity. It questions the authenticity of cultural appropriation. Consider how the very act of painting – labor, production – contributes to its meaning. Does the painting commodify or critique? Editor: I see what you mean. It makes you think about the artist's own position in this system, and how they are engaging with those visual elements. It's like they're investigating those elements within their cultural context, questioning where the value comes from. Curator: Absolutely. We’re compelled to examine the conditions of artistic production. The painting provokes thought on what labor and means are behind this artistic expression. Editor: I hadn't considered the role of the material in relation to cultural representation, but I think I see what you mean now. Curator: Exactly! This brings our focus to the importance of materials, challenging the very core and limits of high and low art, where cultural value is concerned.