Violet No. 2 2017

Curator: Let’s take a look at "Violet No. 2", a 2017 acrylic painting by Yui Yaegashi. It immediately strikes me as very calm, almost meditative. What are your first impressions? Editor: It's subtle, isn't it? That pale violet almost disappears. At first glance, I see a grid, a pattern... something meticulously constructed yet strangely ethereal. It definitely evokes quiet contemplation, which, I imagine, would have been very rare when the artist was creating it in her life as a young female abstract expressionist. Curator: Precisely! Yaegashi’s practice uses minimalist, geometric, and repeating figures in what one might consider traditional or rigid patterns to present themes of intersectional feminist theory. Her use of repetition highlights that repetition can act as an act of social resilience as well as domestic bondage. Editor: Ah, so the grid isn’t just an aesthetic choice, but potentially a symbol of constraints, or maybe a commentary on the invisible structures that govern daily existence, gender expectations, and so on? And then, of course, it makes me think of Agnes Martin, but with a much quieter and somber voice... how interesting. Curator: The color choice is key here. The subdued violet pushes back against more masculine color schemes associated with abstract expressionism of the time. We must examine the painting with regard to art history of the time, considering this work as an intersection between high art, female artistry, the gaze of a patriarchy. Editor: So, reading the work through that lens, it’s less about simple abstraction and more about questioning the canon, about making a space for marginalized voices in a world historically dominated by male perspectives. Curator: Exactly. It invites us to reflect on the narratives art creates and reinforces, who is included, and perhaps more importantly, who is not. Editor: I will certainly pause next time I am too quick to ascribe the title of "pretty art" to a canvas... fascinating how one simple color choice, repeated motifs, and a clever title can speak volumes about the state of identity, expectation, and social commentary.