Shadow of the seventh 2017

Curator: Here we have Mary Jane Ansell’s "Shadow of the Seventh", completed in 2017. What strikes you immediately? Editor: The immediate contrast of light and dark grabs my attention; there is something almost confrontational about the way these two figures are portrayed, framed by the black and white plumage of the birds that surround them. The composition is compelling, but is also disturbing. Curator: It’s certainly a layered image. Ansell often engages with themes of identity and perception in her work. This piece is interesting because the magpies traditionally symbolize fortune or misfortune in different cultures. What sort of societal impact do you think these figures could have? Editor: That use of duality is strong. Consider the subjects, intertwined yet independent, caught between the known and the unknown – that certainly gives off mixed feelings to the audience. It’s interesting how she uses realism here, with the hyper-realistic skin texture contrasting against the stylized symbolic bird life. Curator: Ansell draws a lot of inspiration from the Pre-Raphaelites. We often see how their representations of women served to negotiate ideals of beauty with emerging concepts of feminine agency. There's a very knowing gaze in both women here. How much is the female experience highlighted? Editor: Their positioning, gazing directly at the viewer, suggests an invitation or perhaps even a challenge. Compositionally, the birds pull our eye around and around the canvas; the wings in the center and lower edge create dark foreground areas in the center, directing one back to those gazes you mentioned. What an intense interaction between form and concept. Curator: Yes, the layering of cultural meanings with sharp visual cues certainly demands engagement. Overall it raises pertinent questions about who we are, and the constructs of our image. Editor: I agree, those layers really add power to an otherwise somewhat disquieting scene; its design certainly adds to that feeling.