Figurehead c. 1937

Editor: Here we have Alfred Denghausen's "Figurehead" from around 1937. It’s a combination of sculpture and drawing, using wood and some form of pigment. It definitely looks weathered. What strikes you about its composition? Curator: The most arresting aspect, I think, is the interplay between the organic form of the wood and the representational depiction of the human figure. The cracking and chipping are not flaws, but integral elements of the artwork's materiality, informing its presence. Note how the artist accentuates the diagonal line established by the figure's torso. Editor: It’s almost as if the damage is part of the story the piece is trying to tell. Is the damage a commentary? Curator: Precisely. The semiotic weight of the aged wood contributes to a discourse on time, decay, and perhaps, the endurance of the figure despite visible wear. What is the relationship between the planes of the wood versus the depiction of facial features and hands? Consider how the original grain dictates certain contours while others are meticulously sculpted and painted. Editor: That’s a great way to put it. I can now see how those two layers, the drawing and sculpture, amplify the texture. So the beauty isn’t in perfection but the tension between these states. Curator: Indeed. The work invites contemplation of not just form, but also of process, change, and the inherent dialogue between the artist, medium and subject. I am more focused now on the use of colors in contrast with wood's natural features, specifically, the significance of a reddish tint. Editor: It makes me think about how every material aspect here speaks.