Madame X 

Editor: We're looking at "Madame X" by Friedel Dzubas, made with acrylic on canvas. It's a striking composition of rectangular color fields. I'm initially drawn to the way the contrasting colors interact and create a sense of depth, particularly the stacked colors in the left corner juxtaposed to the block of orange. How do you interpret this work, especially in the context of abstract expressionism? Curator: The formal qualities of Dzubas' "Madame X" are immediately apparent. Observe the interplay of color—how the warm hues of orange, red, and yellow are tempered by cooler purples and the paler surrounding hues. These rectangles aren’t merely applied; consider how their edges blur, suggesting an almost atmospheric diffusion of pigment into the canvas, inviting considerations to their structural integrity. Does the arrangement of shapes lead your eye across the surface? Editor: Yes, definitely. The diagonal arrangement of the colored rectangles creates movement and tension that’s then somehow balanced by the larger orange rectangle. But the ground seems just as relevant. Why the muted background? Curator: That’s where Dzubas subverts expectations, isn't it? The ground isn’t merely a passive backdrop; it participates actively, shaping and defining the chromatic figures. The painting isn't merely about the colors. How does that change your interpretation? Editor: I see what you mean; the colors aren't floating freely. They are interacting within a system of spatial relationships on the picture plane. What strikes me is the sense of improvisation with such rigorous composition and design. I also notice the title. Curator: Indeed. Note the surface, materiality and the relational elements between them. These elements give an avenue for consideration. By appreciating how the colors behave independently, then together in the structured and less structured areas, it’s no longer "Madame X". We see a more appropriate understanding of the relationship.