Apollo and Daphne 1975

Editor: So, this is Ian Hamilton Finlay's print, "Apollo and Daphne after Bernini." It's quite striking, with those stark white lines against the black. The transformation into the laurel tree is depicted with an almost camouflage-like pattern. What jumps out at you when you see it? Curator: Well, it's Finlay playing with echoes, isn't it? He's referencing Bernini's dramatic sculpture, but also the darker currents beneath the surface. The 'camouflage' pattern makes me think of military uniforms, a jarring contrast to the mythological beauty. Does it make you question the cost of beauty, perhaps? Editor: Definitely. I hadn't considered the military association, but that adds a whole other layer. It's not just about transformation, but maybe about the violence inherent in the pursuit, too. Curator: Precisely. Finlay was a master of unsettling juxtapositions. This piece invites us to consider how classical ideals can be twisted and reinterpreted, doesn’t it?