Bear Walking 

Editor: We're looking at "Bear Walking," a painting by Norval Morrisseau. It is an acrylic on canvas. There is such vibrancy and geometric flair, it gives me the impression of stained glass. What stands out to you in this piece? Curator: Primarily, I'm struck by the boldness of the line and the vividness of the color. Observe how Morrisseau uses a continuous black line to define forms. The chromatic intensity serves to differentiate the shapes and sections within the composition. Note the limited tonal range. Do you notice how little shading or modeling exists? Editor: Yes, I see what you mean! The color choices don't blend into each other, they feel very separated. It almost flattens the image. Curator: Precisely. This absence of traditional perspective flattens the picture plane, emphasizing the two-dimensionality of the canvas. One must analyze how the geometric shapes, juxtaposed within the bear form, establish an abstract language. Also, consider the relationship between form and background. The positive and negative spaces, if decoded, might reveal deeper meanings of form. Editor: That's so interesting. I hadn't thought about interpreting the geometric shapes like their own visual language. It makes me rethink what the bear and the surrounding figures could represent. Curator: Indeed. And a closer look at its materiality helps one appreciate its artistic intent. Now that you have identified some structural elements, how might this apply to your further analyses of Indigenous painting? Editor: Thinking about form and flatness provides me with an exciting approach to Indigenous paintings beyond only subject matter. Thank you! Curator: An appreciation for the intrinsic qualities of the artwork allows for decoding both artistic construction and interpretation. A pleasure.