Ivoren crucifix afkomstig van de kathedraal van Le Puy before 1857

Editor: This image shows an ivory crucifix, believed to be from before 1857, and it comes from the cathedral of Le Puy. The figure of Christ seems so fragile against the dark cross. How does its medium—ivory—affect your perception of the work? Curator: The fragility, exactly! The ivory is… what’s the word? Translucent. Christ almost glows from within. It gives this intense sense of presence and pain, and yeah, perhaps a touch of sadness too. I’d imagine the choice of ivory reflects how the commissioner wanted to emphasize Christ’s purity, you know? But thinking about it, you have to wonder about the impact of colonialism on creating an image like this from such an expensive material. Editor: Colonialism... that’s interesting. So, this object might be tied to global power dynamics? I hadn't considered that! Curator: Absolutely! Think of where ivory comes from. It’s never just a neutral material; it carries the weight of its origin, its history. It prompts an essential question: does the material contradict the image in terms of morality? Also, note how Christ's arms are outstretched; the Romanesque sculptors had a different way of emphasizing agony on the cross. It almost appears to say “come here." Do you sense that? Editor: Yes, now that you point it out. It's like a beckoning. And it's subtle, almost unsettling considering the context. Curator: Unsettling is a good word. Art isn't always comfortable; sometimes it challenges us, provokes thought, and asks difficult questions. Isn't that the best art, in some ways? Editor: It definitely gives you a lot to consider! It changes how I look at the figure, and other art too. Curator: And maybe that's what it's all about, the chance to reflect.