Points of Contact No. 2 1964

Editor: Here we have Victor Pasmore's "Points of Contact No. 2," a piece from an undetermined date, held at the Tate. It looks like a constellation made of teal dots, offset by sharp geometric shapes. How do you interpret this work? Curator: Considering Pasmore's shift from representational painting, I see a deliberate engagement with process. What materials did he use to achieve this textured surface, and how does that choice inform its meaning? This challenges traditional notions of artistic labor. Editor: So, you're focusing on the "how" rather than the "what" of the image? Curator: Precisely. The very act of creation, the tools, the materials—these become the subject. It moves beyond mere representation. Understanding the making helps us dissect the message. Editor: That's a different way to look at it; I was so focused on the image itself. Thanks! Curator: Indeed. Materiality transforms our viewing experience.