Intrusion 1974

Editor: Here we have Werner Drewes' "Intrusion", created in 1974. It’s a woodcut print with a very stark, almost industrial feel to it. All these geometric shapes—what's your take on this piece? Curator: It's fascinating how Drewes leverages the inherent qualities of woodcut. Think about the process: carving away at the block, the physical labor involved. That's where the meaning begins. The very act of subtraction to create form speaks volumes. How does the black ink sitting on the white paper alter your perception? Editor: I hadn’t considered that so directly. It’s the *removal* that defines the shapes. The contrast makes it really pop! It almost feels… forceful. Curator: Exactly. "Forceful" relates directly to the artist's physical interaction with the material. The geometric abstraction, these forms aren’t just floating. Drewes is pushing back against traditional distinctions between ‘high art’ and ‘craft’. What elements lead you to the conclusion that it has an industrial feel? Editor: Maybe the hard edges, the repeated lines… it feels almost mass-produced, even though it’s clearly handmade. It feels almost like mechanical parts piled up on each other. Curator: The *impression* of mass production achieved through painstaking individual labor. This tension, the artist's hand *mimicking* the machine. This gives insight into post-war anxieties and fascination with technology, even a subtle commentary on commodification within abstract expressionism itself. Think of how Abstract Expressionism was soon deployed in advertising campaigns. Editor: So, he's using a traditional technique to hint at modern anxieties around production? Curator: Precisely. The means inform the message. This changes my impression; the work takes on more depth, knowing this! Thanks.