Banjo 1981

Curator: I’m really drawn to the syncopated rhythm of this painting; the slightly irregular stripes create a beautiful kind of visual music. It makes me want to snap my fingers and tap my foot. Editor: Well, speaking of rhythm, what you're sensing may resonate with its title. This is Gene Davis's “Banjo,” painted in 1981, using acrylic on canvas. Look closely, and you will see his signature colour-field approach in action. Curator: Ah, yes! I love how the colors shimmer and vibrate against each other. There's a certain softness to them, a dreamy quality even, that I wouldn’t necessarily associate with colour-field. They seem applied very spontaneously, but the lines have rigor. Almost like controlled chaos. Editor: Exactly. Observe how the seemingly random variations in hue, tone, and saturation within each stripe destabilize any potential for rigid uniformity. The imperfections of line, created via slight bleeding and the uneven application of the paint, contribute significantly to its expressive force. Curator: Do you think that’s where he gets the musicality of the title, then? Not so much the perfect tune of a banjo, but maybe more the feel of improvisation, of searching for notes as you go? Like each stripe is an attempt to grab something fleeting. Editor: Perhaps. Note the dynamic push-and-pull created through contrasting chromatic relationships. While some vertical elements display gradual transitions in tone, adjacent elements showcase sharp discontinuities of colour. This compositional strategy prevents the image from solidifying into a stable ground. Curator: I see it, there’s this feeling of everything wanting to move, each stripe trying to break free. It’s vibrant and a bit off-kilter, but that's what gives it soul. It’s an interesting mix of structure and feeling, don't you think? Editor: Undeniably. Davis exploits the structural premise of verticality as a vehicle through which one encounters nuanced, differential visual experiences, giving us both control and explosive liberty at the same time. Curator: It's one of those pieces that rewards spending time with. Each viewing reveals another layer, another harmony in its composition. Editor: A stimulating exercise indeed, to reflect on colour, form and visual tension as experiential realities.