Editor: Here we have Andrei Rublev’s “Ascension of Jesus” painted in 1408. It's a tempera painting. It’s incredible how this scene is portrayed with such striking colors! What do you see in this piece? Curator: I’m immediately drawn to the materiality of the piece. This isn't just about portraying a religious event. Think of the labor involved. Tempera is incredibly demanding, a mix of pigment and egg yolk meticulously applied to a prepared panel. Rublev's choice of this medium speaks volumes about the context of production. How did the conditions of 15th-century Russia shape not just the subject matter, but the very way it was made? Editor: So you are more interested in the process of painting it and what kind of work that implied at that time? Curator: Absolutely. Look closely. What do the colours themselves tell us about trade routes and access to certain pigments? Did Rublev prepare the panel himself or was that a task for an apprentice? What about the social context? Was this work commissioned and, if so, how did that affect the final composition? Byzantine art existed within a tightly knit socio-economic and political system. Who consumes such images and for what purpose? It all points toward complex systems of material and labor. Editor: That makes a lot of sense. I never considered the materials of art being indicative of something greater. Curator: Materiality and making always matter. When we unpack the processes and resources of creation, we are really uncovering hidden networks of exchange, power and devotion. Editor: This painting now seems to hold so much more meaning beyond the immediate subject of ascension. I am also inspired to approach artwork differently now. Curator: Indeed, by looking at what it's made of and how it's made, we get closer to the art of living behind the art object.