Abstract Composition 

Curator: Alright, let’s turn our attention to this spirited artwork. It's called "Abstract Composition" and attributed to Maurice Esteve. What do you make of it? Editor: Oh, hello color party! Immediately, I feel a lighthearted whimsy, like childhood memories bubbling up, a symphony of bold hues bouncing off each other. A visual sugar rush! Curator: Yes, the color palette definitely demands attention. Notice how the shapes interlock, creating a dynamic tension across the picture plane? The interplay of positive and negative space is really quite sophisticated. And, though undated, the medium seems to be acrylic paint. Editor: That negative space you mention hums with potential energy. It feels like a secret language of possibilities within these structured forms. Acrylic? Perfect medium to keep those vibrant colours really 'popping'! Curator: Absolutely. We see a clear interest in geometric abstraction, playing with color blocks that create visual pathways and internal echoes, almost mimicking some kind of architectural plan. Editor: Maybe. To me it feels more like a spontaneous dance than architecture—almost improvisational, wouldn’t you say? Like the artist allowed themselves to play without preconceived constraints and simply let the color interactions dictate the forms. What else do you see structurally here? Curator: Note, the somewhat flat, matte quality helps in neutralizing any perspectival depth and it flattens the shapes, almost creating cutouts or superimposed fields. How the hard edge contour lines accentuate the boundaries between them! It has an almost pop-art sensibility actually… Editor: A very astute observation! Its kinship with Pop is palpable – this confident color handling and almost graphic approach brings it right to that sensibility. Is there any background information shedding light to these points? Curator: While it’s a challenge pinpointing the artist’s precise motivations without dating or further contextual detail, Esteve certainly engages us to ponder what it is we're actually ‘seeing’, or better so what is its nature as a mode for vision to transpire. Editor: This little escapade into chromatic and shapely fun is not something you merely look at: you engage with. And that is, perhaps, the heart of the matter and indeed, what art itself intends to evoke.