The Unicorn in the Forest 2005

Curator: Let’s turn our attention to "The Unicorn in the Forest," an oil painting created in 2005 by Stefan Caltia. Editor: My initial thought is unease. The palette is subdued, almost murky, and the figures, particularly the human one, seem strangely fragile. Curator: Fragility is an interesting word. Caltia frequently incorporates nude figures and mythical creatures into his contemporary allegories, drawing on a rich history of symbolism. Unicorns, of course, are traditionally symbols of purity, grace, and untamed power. Here, though, its eyes are blank and somewhat vacant. What does this pose tell us? Editor: Right, the vacant gaze is very prominent. Focusing on its making, the visible brushstrokes are layered and almost hasty. The color mixing feels quite experimental, with unexpected blues and greens on the unicorn. The surface looks textured—thick application. Curator: I'm particularly drawn to the composition and gaze of the figure. While she physically rests upon the unicorn, her averted eyes and melancholic expression suggests a separation, or perhaps even a sense of captivity. Her vulnerability makes it possible to interpret the artwork through different views. Editor: The 'captivity' idea rings true. There’s a sense of stillness to it all – the texture and the tonal choices further isolate these characters against the void, which lends to a surreal feeling. Did Caltia work with many models for painting, or mostly drawings? Curator: Information about Caltia’s process is somewhat sparse, but it’s certainly evident he utilizes an extensive personal iconography – horses, winged figures, barren landscapes that function almost like dreamscapes of a collective cultural past. Editor: And the forest pressing in…The weight of the context here really gives something somber. Curator: I agree. We could speculate at length about the meaning of those dark hues and what narrative it supports, but this dream-like, strange configuration stays. Editor: I'll be considering those brushstrokes a bit longer. Thanks for bringing this into a new light.