Mellow my mind 

Editor: Here we have Cathrine Edlinger-Kunze's oil on canvas, "Mellow my mind." Although undated, the painting feels both contemporary and classic. The brushstrokes are really expressive, creating a sense of movement. What strikes you about it? Curator: Immediately, I'm drawn to the physicality of the paint itself. Notice how Edlinger-Kunze manipulates the oil, building up layers in some areas while leaving others thinly veiled. It prompts the question: What is the role of the artist's hand here? Is it about revealing the labor involved, the sheer effort of applying and shaping the material? Editor: It does look very physical, like the artist was really wrestling with the paint. Almost like a sculptural process, even though it's two-dimensional. Curator: Precisely! And consider the historical context of oil paint. For centuries, it was the medium of the elite, associated with wealth and power. By using it in such an expressive, almost raw way, is Edlinger-Kunze subverting those traditions? Is she democratizing the medium, making it accessible and immediate? Editor: I never thought of it that way. I guess I was so focused on the figure and the emotion that I overlooked the paint itself. But you're right; it feels almost rebellious. Like she's taking ownership of this 'high art' material. Curator: Exactly. And that’s a key element of materialist readings. We examine how artists engage with the social and economic implications of their chosen materials, disrupting established hierarchies. Look at the background against the portrait. Are they in opposition of each other or building the same narrative? Editor: Now I’m seeing the painting in a completely different light. I realize how much I'd previously overlooked about the materials and process! Curator: That's the beauty of art, isn't it? There's always more to discover when you delve into the materiality of creation.