Kruis met ouroboros 1874 - 1932

Editor: So, this is "Kruis met ouroboros" by Mathieu Lauweriks, a linocut print that dates between 1874 and 1932. It has this intense, almost mystical quality, the stark contrast really jumps out at me. What catches your eye about it? Curator: The linocut as a medium is paramount here. Lauweriks deliberately chose a readily available and relatively inexpensive material. Think about the social implications: it allows for broader distribution and consumption of his symbolic imagery. The choice rejects the elitism often associated with "fine art," and connects this spiritual emblem with the everyday experience of ordinary people. Editor: I see what you mean. The material makes it more accessible, less precious, somehow. The ouroboros, that snake eating its tail, is so meticulously rendered. Was linocut a common choice for this type of symbolism back then? Curator: Precisely. While the symbol has roots in ancient alchemy, its presence in a linocut compels us to think about its mode of production and consumption. How does mass production alter our relationship to sacred symbols? Also, consider the socio-economic realities of the artist and the audience in relation to that mass production. Editor: That’s fascinating. It changes my perspective to think about the context, not just the image. I guess it's not just a symbol, it's an object of consumption. Curator: Indeed. It highlights how readily reproducible images could transform, translate, or perhaps even cheapen traditional symbols as the linocut made its way into different communities. Editor: That's given me a lot to think about, how materials and methods can shape our interpretation. Thanks! Curator: My pleasure. Always consider the labour and materials that go into making art, and the hands through which those objects pass. It changes everything.