7 May – 20 May 2010 -Collective Works Gallery -Victoria BC
In
Leonardo, MITs art and technology publication, Ellen K. Levy reviewed last October’s 43
rd International Association of Art Critics (AICA) Congress -
The Relations between Art and Science: Complicity, Criticality, Knowledge. Levy references Susan Sulic’s discussion about how Lucio Fontana’s (1899 – 1968) early work initiated the artistic examination of (outer) space.
[1] Space and time, science theory and investigations are permanently in artists’ domain. Jason Grondin contributes to this continuing dialogue.
Grondin’s experiential paintings are a visceral synthesis of hypothetical concepts. Visually expansive, the work exemplifies interconnectivity. After considering scientific theory, such as the “Big Bang”, (a hypothesis proposed by Georges Lemaître and phrase coined and idea refuted by Sir Fredrick Hoyle, both astronomers) he gesturally processes this inception of the universe with lively, curvaceous lines and abstracted connotations of particles. Grondin reaches beyond scientific assessments of formation from infinitely dense atoms. We see a belief in beauty, ordered chaos and an enchanting orchestration of wonder.
Initially inspired by Kandinsky, we can see Grondin’s homage to that explosive, spacial appreciation and discovery. However, there is a buoyant responsiveness in this work. Grondin’s palate is mostly soft and transient, and shapes articulate with few hard edges. We can see Klee-like bounce of calligraphic capture and Miro inspired exuberance that this artist translates to his own graphic dance. Using these techniques to forge the excitement of generation, Grondin deflects his thoughts to the outcomes of scientific abuse in
Atomic Child. The raw wood panels of two works acknowledge our earth underneath the hovering reminder of atomic beginnings and future apocalyptic possibilities of our future. The dark washes of
Reconstruction of Chaos and
Through the Ashes deflect the viewer towards the inevitable murkiness between beginnings and definition. Grondin’s demonstrative enthusiasm for cosmic expansion resonates in
Spontaneous Generation, and pairing the similar work,
Rise and Fall instructs us that he is aware of the dichotomy of substance, how wave and particle matter, or any significance behaves differently under varied conditions. The painterly impasto backgrounds of four images signify jaunty heavens speedily layering under continued genesis. Grondin’s work postulates that the inception of the infinite universe is contingent on a feisty inaugural release within enigmatic space. We are witness to the integrity of this embracing assurance.
Video
[1] http://www.leonardo.info/reviews/dec2009/xliiirdaica.levy.php
video
