Back Fences c. 1929

Editor: This woodcut, "Back Fences," was created by Charles William Smith around 1929. It's striking how the bold black and white contrast creates a somewhat ominous tone despite depicting what seems like a rural, domestic scene. What draws your attention when you look at this piece? Curator: The composition is remarkably structured. Notice how the artist manipulates light and shadow to create depth. The dense, almost claustrophobic canopy of trees presses down, countered by the receding lines of the fence. Do you perceive the implied texture in the woodgrain of the houses? It is an illusion, all created through skillful carving. Editor: I see it. The texture almost seems exaggerated, adding to that feeling of unease. But it also feels very carefully rendered. What do you make of the lone figure walking? Curator: Interesting point. While a representational image, her presence functions more as a formal element, activating the space between the foreground and middle ground. The repetition of vertical lines—trees, fence, figure—creates a rhythmic pattern. Consider the stark difference between the densely packed upper portion and the more open lower portion of the picture. The fence directs our attention. Editor: So you see the figure as more of a structural component rather than a narrative one. It's fascinating how you can interpret it purely through its visual elements, and not focus on possible historical context or story-telling function. Curator: Precisely! By considering line, form, and texture, one appreciates the sheer mastery of Smith's craft, independent of any external referent. What do you take away from observing that, as a formal exercise? Editor: Thinking about it as form first helps me appreciate the choices the artist made to build the image, instead of immediately searching for hidden meaning.