Estuary III 

Editor: Here we have John Miller’s "Estuary III," an acrylic on canvas painting. It feels very calm, almost minimalist, in its approach to representing a landscape. I’m struck by the texture, or really the lack thereof. What can you tell me about this piece? Curator: Thinking materially, the smooth application of acrylic flattens the scene, minimizing depth and emphasizing the painting's surface. The artist’s process of layering such uniform colours speaks to mass production's influence. Do you see any potential challenge to the hierarchy between “high art” and more utilitarian applications of paint? Editor: I think so, yes! It is interesting how the artist almost rejects traditional brushstrokes, making it almost like a printed work. What can be learned from that type of… dismissal? Curator: Exactly! Think about the labor involved - or rather, seemingly *not* involved - in creating such a flat surface. It begs us to consider artistic skill and value, especially within a market-driven system that often fetishizes visible labour. It mirrors a consumer culture prioritizing sleek, manufactured goods over handcrafted ones. Editor: That's such an interesting way to view it. It challenges the traditional definition of skill and artmaking itself, almost democratizing it by leveling the playing field. Curator: Precisely. And it subtly critiques the consumerism embedded within the art world itself. It shows the transformation and incorporation of artistic elements into capitalist production, blurring boundaries and reflecting on accessibility. Editor: Thanks for showing how an approach centered on the materiality can actually reveal deeper commentary. I never would have considered those avenues of interpretation just looking at the image itself.