In the harbour 

Editor: Here we have David Burliuk's "In the Harbour," created with, from what I understand, impasto acrylic paint on canvas. It's a pretty energetic scene; thick globs of paint really give a tactile sense to the water and buildings. What do you see in this piece? Curator: For me, it's all about the labor involved and what that communicates. Look at the sheer physicality of the impasto technique. Each stroke is deliberate, requiring force and shaping. What does this repetitive, almost performative action, of layering paint evoke in terms of the artist's experience and intention? Is it just about representation, or about something more intrinsic to the material? Editor: I guess I hadn't considered it beyond just texture. Do you think the type of paint he used is significant too? Curator: Absolutely. Acrylic paint allows for this kind of rapid buildup. Oil paint, traditionally used for impasto, requires significant drying time. Acrylic enabled a faster, perhaps even more frantic or spontaneous process. This quick layering aligns perfectly with the dynamic, slightly chaotic scene of a bustling harbor. Further, who had access to acrylics at this time, and what was the significance of the shift away from traditional oils? Editor: So it's less about the specific boats and buildings, and more about how the materiality reflects his process, or the state of art production at the time? Curator: Precisely. It challenges that traditional high art/low art division. This work makes the making central. Also, notice how this materiality democratizes the artwork. Anyone can touch, can experiment. How might that impact access and appreciation? Editor: I hadn’t thought about it like that before, considering the economic aspect and access to materials. It’s really fascinating how much the medium itself can communicate! Curator: Exactly! It’s about understanding art not just as image, but also as material engagement. This, in turn, helps us analyze shifts in labor, accessibility, and even value within the art world itself.