Wall of Light 4.84 1984

Curator: Sean Scully's "Wall of Light 4.84," created in 1984 using watercolor on paper, presents a compelling study in abstraction. What are your initial thoughts? Editor: Immediately, I'm struck by the solemnity. It evokes a sense of ancient construction, like the remains of something monumental and perhaps religious. The earthy tones and stark geometry contribute to this feeling of austere grandeur. Curator: It's fascinating how these seemingly simple rectangular forms achieve such an emotional depth. Scully is masterfully playing with the grid—a cornerstone of modernist abstraction. Note how the imprecise application of watercolor softens the hard edges. Editor: That interplay between the rigid structure and the fluidity of watercolor is key. I see a kind of tension between order and chaos, the constructed versus the natural. It reminds me of primitive bricklaying, with imperfect joints and variations in material. It invites associations with barriers or boundaries—physical, psychological, even spiritual. Curator: The color choices further reinforce this duality. The dark blacks and browns juxtaposed with the terracotta and blue aren't random. He’s using the emotional properties of colour to expand the language of hard edge painting. Editor: Indeed. Those blues introduce a wistful quality, like a crack in the wall revealing sky. These colors resonate with me, reminding me of ruins uncovered under bright, Mediterranean light. There is also something elemental in the symbolism that is compelling, even if abstract. Curator: Consider too, how the "imperfections," like the visible brushstrokes, reinforce the hand-made quality. The visible process of creation becomes part of the aesthetic experience, making the structural design feel lived-in and tangible. Editor: The "Wall of Light" seems to be evoking a historical or primal sense of building, yet filtered through Scully’s specific painterly vision. Curator: Exactly. We’ve analyzed his deployment of material and technique to explore historical ideas; it invites us to reassess what abstract painting can signify. Editor: Looking closely, I appreciate how an apparent simple composition becomes an active exploration of both time and self.