Plank Mask c. 1960

Editor: Right, next up is the Plank Mask, dating from around 1960, made by the Bwa people. It’s a striking sculpture of wood with paint and I can’t help but notice how it seems to embrace the ideas of abstract and geometric expression. What do you see in this piece? Curator: I see a testament to the intricate relationship between materiality and meaning. The wood itself is not just a neutral support; it carries inherent value based on the labor required to obtain it and transform it. Editor: So you are saying that there's significance in using wood as the material? Curator: Absolutely. The act of carving and painting—the expenditure of physical labor and artistic skill—transforms readily available resources into a powerful cultural object. Note also the stark geometric patterns. These aren't just decorative; they're painstakingly applied, probably from a mix of organic materials available, representing beliefs and moral codes, interwoven into the daily life and community values. How do you think the availability of pigment or tools shapes these forms? Editor: I guess that scarcity would likely play a large part, maybe dictating simple and functional art. Curator: Precisely. And in turn, such material realities influenced how meaning was made and conveyed through this object within the community, emphasizing not only spiritual content, but also technical expertise. Editor: This mask certainly gives new perspective to looking at art beyond its face value, where materials used have deeper meaning. Curator: Indeed, examining the resources and processes offers a crucial lens for understanding art’s engagement with both the environment and societal structures that bring cultural objects into being.