Untitled Chinese Ink Drawing 1961

Curator: Before us is Henri Michaux's "Untitled Chinese Ink Drawing," housed here at the Tate Modern. Editor: It’s immediately chaotic. A swarm, or a mass migration depicted in stark black and white. Curator: Indeed. Michaux's interest in Chinese calligraphy is evident. Notice how each mark functions as a discrete unit, yet contributes to the overall density. It's a fascinating interplay of figure and ground. Editor: Those figures, though abstract, evoke a sense of collective anxiety, a shared journey towards an unknown destination, perhaps reflecting existential themes prevalent after the war. Curator: Perhaps. Or it is simply the artist exploring the inherent qualities of ink, its capacity to convey both precision and ambiguity. The gestural application is paramount. Editor: Regardless, the drawing’s impact lies in its potent symbolism—the individual lost within the crowd, a timeless motif echoing through cultures. Curator: A fascinating discussion about the interplay of form and meaning in Michaux's work. Editor: A reminder that even the most abstract forms can resonate with deep human experiences.