Devil House with Clock Tower c. 1966

Curator: Well, the first thing I notice is the overwhelming sense of order. But what's really intriguing is that the title, "Devil House with Clock Tower," promises something chaotic, yet the artwork itself feels almost ritualistic. Editor: Indeed, there's a fascinating tension. Looking at Frank Jones's drawing from around 1966, done in a distinctive red and blue, one might describe this, I suppose, as…controlled delirium? These strange beasts nestled in orderly little boxes are all bordered by something almost floral or organic. Are we sure that this is hell? It feels very orderly for the dwelling of a devil! Curator: Exactly! That dichotomy gets right under my skin. Each creature seems caught between something thorny and rigid that frames a terrifying figure. What I find so intriguing is the clock—it hints at something greater than time; destiny, perhaps, but it has been replaced in Jones’ design with a floral spray! Editor: I notice how Jones employed colors and iconography to generate an intriguing contrast. The color play also affects the visual mood here, giving a distinct tone with that combination. The deep red may be associated with danger or warning while the bright blue conveys a sense of detachment. The way these colors mix together is certainly odd. It almost gives a sense of calm with the devilish creatures portrayed here. The artist provides the audience with what is expected in art by the mentally ill in creating hell or something terrifying, then subverts it in the combination of figures. Curator: It’s funny you bring up detachment because even in the most disturbing figures, the drawing doesn’t read as horrifying. Maybe because of this detached use of blue against a red hell-scape? It actually humanizes his experience of fear. This is quite brilliant! And terrifying if we can all relate in some ways. I can’t help but think about the repetitive nature of institutional life in this work, each horror neatly filed away. Editor: Yes, almost like he has filed his trauma and demons into the separate blocks with order in their borders. An interesting interpretation when you consider how this might all add up and why the order might not bring what is expected from chaos. The combination, although opposing and unique in how it challenges, somehow captures a collective struggle. Curator: It also resonates, somehow, which I think, ultimately, speaks to the enduring power of raw human emotion captured here in such a strange medium. Editor: Yes. And considering the work through our lens really encourages one to think outside of our own preconceived notions.