Dolly Varden 2016

Editor: Here we have James Jean’s "Dolly Varden" created in 2016. The vivid, swirling patterns really grab your attention. The figure is both realistically rendered and dissolves into the psychedelic background. How do you see this work, given its engagement with figuration and abstraction? Curator: What immediately strikes me is the artist's emphasis on the means of production. Consider the meticulous linework, the layering of colors - seemingly digitally rendered. We see a collapse of the traditional hierarchy between fine art and illustration here. What kind of labor do you think is involved in creating a piece that blends fantasy and realism so seamlessly? Editor: I imagine a lot of digital manipulation, and time spent refining those organic shapes. Are you suggesting Jean’s process democratizes art making, making it less about skill, more about digital craft? Curator: Not necessarily less about skill. Rather, I’d say Jean redirects the emphasis. The skill now resides in mastering digital tools, understanding how these programs shape the artist's hand. How does the choice of digital medium influence the perception of this "nude" subject within such a digitally rendered context? Is she empowered or objectified by this setting? Editor: That's a fascinating question. Maybe the smooth, almost unreal quality of the digital medium softens any potential for objectification. I'm starting to think more about the act of creation through this lens. Curator: Precisely! The act of creation is never neutral; it's shaped by the materials, the tools, and the prevailing social attitudes toward labor and skill. This piece beautifully exemplifies the blending of traditionally disparate roles in visual culture. Editor: This makes me rethink digital art’s place in the broader art world, recognizing the labor involved and challenging the assumptions of the art versus craft dichotomy. Thanks for sharing your thoughts! Curator: It was my pleasure. It's refreshing to see emerging scholars questioning established norms through materiality.