Anuanom 2020

Editor: We are looking at "Anuanom" by Cornelius Annor, created in 2020 using oil paint. I’m struck by the textures and the contrast between the flatness of the background and the detailed clothing of the figures. What strikes you most about the composition? Curator: Initially, my focus is drawn to the compositional arrangement: two figures positioned symmetrically around a central table. Consider the geometric patterning--the interplay of the checkerboard floor and the distinct fabrics. Do you notice how the patterns, although varied, create a unified visual field? Editor: I do. There’s a lot of detail, but it doesn't feel chaotic. Is that related to the restricted color palette? Curator: Precisely. The earthy tones and the subtle shifts in value allow for a cohesive reading. Also, examine the surface quality—the smooth, almost glazed effect contrasts with the implied texture of the textiles. This interplay activates the picture plane, encouraging closer observation. Note the way the formal constraints allow for an expression of, say, modern Black identity. Editor: So it’s almost like the restriction of colors makes us look more closely at the geometry and textures. The outfits stand out. Curator: Precisely. It is a dialogue between surface and structure, pattern and plane, ultimately creating an interplay between representation and abstraction. I think it also pushes genre-painting. It's pushing some other conversations out too, but perhaps later. Editor: It's amazing how much is communicated through the arrangement of shapes and colors. It sounds like you are implying that a certain reading and the artist's intended meaning may not completely align, or am I incorrect? Curator: In some instances that occurs, yes. As with all formalism, close viewing creates an opening to larger fields. Editor: It gives me so much to think about in terms of how artists choose to communicate meaning beyond the representational.