Second Childhood 2020

Editor: We're looking at "Second Childhood" by Jammie Holmes, created in 2020, using acrylic paint. It's a compelling image; the figure, the bicycle, the almost childlike rendering—it strikes me as quite poignant. What do you see in this piece? Curator: Considering this through a materialist lens, it's fascinating. Look at the raw application of the acrylic. The quick, almost crude brushstrokes, particularly on the figure’s skin and the bike’s frame. Holmes isn't interested in illusionism. Editor: So the *way* it's painted is more important than what is being depicted? Curator: Not more important, but inseparable. This work engages in ideas about labor, consumption and social narratives. Consider how a symbol like Nike, usually associated with performance and aspiration, is represented on the child's tricycle. What labor makes this sign possible? Editor: I never considered the labor involved! So it's not just a brand, but a reflection of a system? Curator: Precisely. And the title, "Second Childhood," adds another layer. Who is this "child," and what does it mean for them to experience a "second" one? Is this reclaiming lost youth or hinting at more systemic obstacles? Editor: I see it now; the painting itself is an object that speaks to larger material conditions. It's powerful to consider how the art object embodies all these questions of production and consumption. Thank you for helping me think this through. Curator: It is rewarding to engage in a process that encourages questioning our own assumptions. Considering art through a materialist lens is one avenue for deeper exploration.