River 1989

Editor: This is Joan Mitchell's "River," painted in 1989 using acrylic. I find the diptych format and scale quite impressive! What strikes me is the sheer energy of the brushstrokes, but they are almost overwhelming... What do you see in this piece? Curator: Indeed, Mitchell’s gestural abstraction is realized in a rich interplay of formal elements. Consider how she articulates space through layering: the impasto marks pull the viewer forward and then, abruptly, push backward with their intense contrasts and depth of field, creating a powerful visual rhythm that challenges the viewer to pause and interpret her deliberate marks. Editor: The layers are complex. But are the "red marks" more dominant to others, such as gray and green? What effect do the dynamic and layered brushstrokes produce? Curator: Consider, too, the materiality of the paint. The texture—thick, almost sculptural in places—captures the viscosity of the paint, a physical property that affects how we perceive the colour. These visceral properties and the sheer scale allow the painting to function as an embodied experience. Do you see a certain dynamic in play across its entirety? Editor: Yes, especially considering how those visual planes evoke motion. The texture gives almost another layer, so they work both individually and as a singular movement. Now that I focus on the texture, "River" becomes even more appealing than when I first viewed it. Curator: Exactly. By decoding her composition using the formal vocabulary available to her through semiotics, one appreciates how carefully planned her work truly is. I'm glad you've come to discover a greater awareness of art through this aesthetic journey.