Pyrographie both sides flames 1959

Editor: Here we have Henk Peeters’ "Pyrographie both sides flames," a charcoal drawing from 1959. It has this…ethereal, almost ghostly quality, and it really commands your attention with its stark central composition. What do you see in this piece? Curator: I observe a compelling investigation of form and materiality. Note how Peeters utilizes the charcoal not merely as a tool for representation, but as the very substance of the artwork. The texture, achieved by the artist's application of charcoal, creates a stark contrast against the canvas. Does this stark contrast perhaps indicate a rupture of form, or the emergence of a new aesthetic language? Editor: That’s interesting. I was focused on how the form reminded me of flames, but your comment on the use of charcoal made me realize I hadn’t thought about its textural implications. Are you suggesting that we consider the "mark-making" as significant to understanding its significance? Curator: Precisely. How do the gradations of tone invite the viewer's gaze? Consider the balance – or imbalance – between the upper and lower forms. Does the composition resolve itself, or does it purposefully withhold resolution? Editor: It definitely withholds resolution. It’s open-ended…unfinished in a way. Curator: Consider, then, how that lack of resolution informs its semiotic function. How does the charcoal function as a signifier within Peeters’ artistic vocabulary? Editor: This has given me a lot to think about regarding how texture and form impact meaning, thank you. Curator: Indeed. It's a valuable exercise in how attention to the intrinsic components of art can deepen our perception and broaden our comprehension of the artwork’s aesthetic intentions.