Coq caraïbe 1970

Editor: Here we have Wifredo Lam's "Coq Caraïbe," created in 1970. It's a drawing, seemingly on toned paper. I'm immediately struck by the cool palette and the almost architectural construction of the bird. What formal elements stand out to you in this piece? Curator: The Cubist influence is undeniable; we observe the fragmentation of form and the simultaneous presentation of multiple perspectives. Consider how the artist utilizes line – crisp and deliberate – to delineate the various planes. The muted greens and blues serve not to replicate observed reality, but to construct an emotional space, one that exists solely within the confines of the picture plane. Notice too how the shapes interact; the relationship between the abstract shapes and the representation of a bird invites contemplation. Editor: I hadn’t thought about it as constructing an emotional space, more of a representation of a bird. Does the flattening of the image relate to a critique of Western perspective, given Lam’s cultural background? Curator: Precisely. Western perspective aims to create the illusion of depth and three-dimensionality on a flat surface. Lam's deliberate rejection of this system is a powerful statement. This "flattening" allows for an emphasis on the surface quality of the artwork itself, redirecting focus towards its materiality and the artist's hand. How does that awareness affect your appreciation of the piece? Editor: That makes a lot of sense! Now I'm seeing how the surface and the interplay of shapes take on a whole new meaning. Thanks for opening my eyes to that. Curator: And thank you for your insightful observations; it’s been enlightening to revisit this piece through a fresh perspective.