Chevalier d'ombre (Shadow Knight) 1954

Editor: Here we have Jean Dubuffet's "Chevalier d'ombre," or "Shadow Knight," made in 1954. It appears to be some sort of sculptural assemblage, and I'm struck by the raw, almost primal feel of the materials. What’s your interpretation? Curator: This piece embodies Dubuffet's "Art Brut" aesthetic, which celebrated untrained artistry and challenged academic traditions. It begs the question: what is art, and who gets to define it? Consider the materials. What are they? Editor: They look like…maybe a mixture of plaster, aggregate, even what appears to be small stones? It is incredibly tactile and doesn’t attempt to hide its means of production, does it? Curator: Precisely. It's crucial to view it through the lens of post-war anxieties. There was a turn away from grand narratives towards raw, unfiltered expression, fueled by social alienation and the questioning of authority. How does Dubuffet's construction, these roughly combined, earthy materials, reflect this? Editor: I suppose that there is a very rough, visceral reaction from him choosing materials not considered art objects, embracing imperfection. Dubuffet seems to celebrate a form of working class “making.” Curator: Exactly. His art aimed to subvert established power structures by elevating the materials of the everyday, challenging the consumption-driven values of the art world. It makes us consider the social status imbued in materiality. Editor: That’s so interesting – it’s as though the artwork itself is a statement on the value of labor and materials deemed ‘low’ or ‘unworthy’ by the mainstream art culture. Curator: Right, so understanding the societal influences driving production really can transform your understanding of an artwork. Editor: I’ll definitely consider material and social factors more closely now.