Coverlet c. 1939

Editor: This is Arthur G. Merkley's "Coverlet" from around 1939. It looks like it’s created with textile, fibre art and possibly some drawing elements involved. It’s so structured, almost mathematical. What do you see when you look at this piece? Curator: Immediately, I am struck by the artist’s manipulation of the horizontal and vertical. Notice how the piece is divided into distinct sections through the interplay of differing weave structures and color palettes. What effect does this compositional choice have, do you think? Editor: It gives it a sense of rhythm, like a visual score of music. The varying thicknesses and colors create a beat, or a pulse. I think without it, it could just be repetitive. Curator: Precisely. It disrupts any sense of monotony, and it creates contrast. Moreover, it emphasizes the inherent qualities of the materials – the textures and the ways the colors interact. The drawing element supports a deeper understanding of process. Does it strike you as intentionally ‘beautiful’ or aiming for a specific effect? Editor: Not particularly beautiful, but definitely intentional. It's almost clinical, or at least very precise. The colours work well together but don't grab me emotionally. Curator: It is intriguing that the colours operate so harmoniously to define its composition, that the work isn’t intended as merely representational, instead foregrounding material. Editor: Yes, the analysis gave me a greater sense of how a simple thing can be conceptually elevated through the artist's compositional and material handling decisions. Thank you for your guidance! Curator: It’s been a pleasure. Considering purely the visible forms can often illuminate a greater intention.