Dancing to Whitney 2018

Editor: Here we have Salman Toor's "Dancing to Whitney" from 2018, made with oil paint. I find the hazy figures really intriguing. It gives the scene this intimate, dreamlike quality. It feels very personal, like a snapshot of a private moment. What's your take on this piece? Curator: That intimacy you describe really resonates. I think Toor captures something incredibly specific about contemporary social life, especially the diasporic experience. Look at the way the figures are rendered, almost floating within the scene. There's a sense of longing and belonging intertwined, wouldn’t you say? And, of course, the title points us towards a specific kind of emotional release, perhaps in the company of friends, fuelled by nostalgia. Do you pick up on the colours he chooses? Editor: Yes, the slightly muted tones contribute to the dreamlike quality, for sure. I guess it gives it a nostalgic vibe as well, as if we are watching an old memory being replayed on a loop. And you mentioned diaspora – is there anything else that relates the artwork to that cultural background? Curator: Absolutely! Think about the Western art historical canon, the legacy of painters like Toulouse-Lautrec capturing scenes of Parisian nightlife, and how Toor subtly subverts that. He transposes those tropes onto a contemporary scene featuring brown and queer bodies. The very act of representation becomes a powerful statement. It invites a sort of reflective space. Editor: That's such an insightful way to look at it! I was so focused on the emotional tone that I missed the deeper layers of cultural commentary. Curator: It's easy to get lost in the feelings! Toor’s work is fantastic because it operates on so many levels. Each viewing offers something new, and often challenges you! Editor: Thanks! Now I am excited to come back to it on my own.