Untitled 1972

Editor: So, here we have Max Bill's "Untitled" from 1972. The rigid geometric composition is really striking. All these solid shapes interacting… what do you see in this piece? Curator: I find myself drawn to the interplay between the positive and negative space. Observe how the stark white center, almost an octagon, is as integral to the composition as the surrounding black bars and colourful triangles. It challenges our perception of figure and ground, doesn't it? Editor: It definitely does. It feels very… deliberate. Why so many right triangles? Curator: Precisely! Consider the triangles at each corner. The arrangement isn't random; each one is precisely positioned to suggest a progression, almost a rotational movement, around the central void. The use of primary colours also reinforces the notion of fundamental visual elements. Do you agree? Editor: I do. And there’s something satisfying in its symmetry, broken by the color arrangement. Curator: Symmetry, yes, but also tension. That asymmetry invites our eye to constantly reassess the relationships between forms. Bill masterfully uses geometry not as an end in itself, but as a vehicle to explore spatial relationships and visual dynamics. Editor: I’m starting to see how even simple shapes can create such complex relationships! Curator: Indeed. It reminds us that art can exist purely within the realm of form and colour, without needing to represent anything external. It really makes you think about visual balance. Editor: I appreciate seeing this artwork through the lens of pure form. It adds so much depth.