Poppies 1963

Curator: Richard Diebenkorn’s “Poppies,” dating from 1963, presents us with a seemingly simple still life. What are your first impressions? Editor: A striking tension! The bright yellow poppies practically vibrate against that somber, almost oppressive, black background and table surface. There’s a heaviness to the materials; you can practically feel the oil paint. Curator: Precisely. Diebenkorn masterfully balances colour and form. Observe how the verticality of the flowers and the stripes in the background offset the horizontality of the table. This juxtaposition creates visual interest, but it's more than that, wouldn't you say? Editor: Definitely. And that impasto technique - it gives the paint a physical presence, a thickness that emphasizes the labour involved in creating this piece. It’s not just about representing flowers; it’s about the act of applying the oil, layer upon layer, a repetitive engagement of mind, material and body to build up the surface. Curator: Indeed, we can appreciate how Diebenkorn focuses on geometric abstraction here, simplifying the forms to their essence, almost dissolving the traditional idea of representation altogether. The tension between the surface texture of the material, and its geometric appearance provides a rich optical experience. Editor: Consider also the socio-economic conditions within which Diebenkorn was creating. Think about access to resources, the availability of materials, his status as an artist afforded him a certain economic privilege and therefore an advantage to focus on still life as his primary subject, allowing himself to ruminate on materiality. Curator: True, and while that’s an interesting avenue for discussion, the emphasis on geometry, surface, colour...they construct a complex visual architecture. Editor: Yes, seeing the tactile labor inherent in its production gives "Poppies" another depth, making its geometric language resonate beyond mere design. Curator: For me, “Poppies” demonstrates how potent abstracting commonplace objects can be in generating formal and symbolic meaning. Editor: A truly satisfying intersection of craft, material exploration, and representational art.