Untitled 

Curator: This untitled composition is brought to us by Jean-Paul Jerome, employing acrylic paint to render a primarily geometric arrangement. Editor: The interplay of muted tones, predominantly earthy browns and greens, casts a surprisingly calming, almost subterranean mood upon the canvas. Curator: Indeed, Jerome’s use of color modulation serves to delineate the complex interplay of forms. Note the linear articulations that almost feel superimposed—how would you assess their impact? Editor: Those lines... they evoke a sense of fragile construction, like architectural blueprints hovering just above the surface. They disrupt the solidity of the shapes, adding an interesting layer of vulnerability, perhaps even temporality. Curator: Semiotically, this might propose a certain Derridean deconstruction. What appears firm and geometric is also destabilized. But is it intentional, or does this simply happen when form meets representation? Editor: The very act of abstraction introduces layers of symbolism. The repeated angular forms, the graduated shadows – these can be seen as archetypes. The shadowy gradients remind one of Plato's cave and what he said about how shadows aren't reality. It creates this tension within the geometric forms and challenges the eye. Curator: One can admire how it explores a very restricted tonal range to define form, texture and also perhaps the interplay between surface and volume, too. Editor: It’s more evocative than I first anticipated, hinting at something just beyond concrete comprehension, where feeling seems to be just as crucial as form. Curator: A fitting reminder that even the seemingly most abstract structures carry nuanced expressive depth. Editor: Leaving us perhaps not with answers, but a rich field for interpretation.