Jeux des formes 1988

Curator: Oh, I sense a playful conversation brewing between these shapes and colors! It's as if they're alive with hidden stories. Editor: And how! Serge Brignoni, with *Jeux des formes* from 1988. Look at the layering of acrylics on canvas; you can really see the process, the building-up of textures. Are they conversations, or structural experiments? Curator: Well, there's an energy, a Fauvist boldness maybe… a nod to the joy of just making, of putting paint to canvas with abandon, letting those forms speak a visual language all their own. Reminds me of dreaming; when forms start to resemble recognizable images, then suddenly slide out of reach! Editor: I’m more intrigued by what materials and resources would have been available to Brignoni in that period and what they dictated about the end product. Considering the socio-economic backdrop adds weight to my viewing experience. I am drawn in by that material history that permeates its every corner, its literal composition. Curator: But isn't there a universal language here, almost childlike in its simplicity? It tugs at something deep inside me...it speaks of imagination without limitations. Editor: For me it raises interesting questions about how society classifies value when considering the labour, artistic license and social statement within this piece – perhaps it dares us to reconsider how these relate and inform each other in our aesthetic evaluation! Curator: Beautifully said, almost a philosophical exercise that uses colours, forms, and their placement to tease apart larger existential considerations, as an abstract expressionist seeks new forms of communications. Editor: Exactly - perhaps what this piece asks is not, 'what did the artist *mean*' - but, "what labour and history underpin even this abstract act?". Curator: It’s such a deceptively simple title, really: Games of Forms. Editor: Yes, what we might easily view as merely an act of 'play,' is rooted in labor and the availability, as well as consumption, of resources. The relationship between the 'high art' and 'craft', is fascinating.