Old Church, Veere 1933

Dorrit Black made this linocut, Old Church, Veere, and right away I’m thinking about process. How do you even start with a thing like this? The textures feel so physical. You know, the church itself is this brown-grey, and each little mark feels deliberately, well, blunt! Take a look at the grass at the bottom, those little cream dashes feel like a memory of a field. A memory as a process. I mean, isn’t that how memory works? And what about that road? It’s this big curve, a very dark grey, that anchors the whole composition. It's not realistic, but it's emotionally true. Like, you *feel* the path. You get that Black is in conversation with artists like the Vorticists. Art-making isn't about answers, it's about having an ongoing conversation!