Well had a great art opening, lots of people, lots of good conversations about art, the universe and everything else…… sold five pantings so far. Just finished doing an interview for a review of my show, should be interesting. Thanks to everyone who made it.
There is so much going on in our solar system, galaxy and universe it really is mind blowing. If more people could understand that the whole universe was created when a infinitely dense atom (or singularity) exploded maybe people would realize we are all connected , whether they like it or not. That’s what my art is about, we are all connected not just to each other but to everything. I guess all I can do is hope that this show has some kind of impact like that. Like a big bang in your brain, saying life just is so relax,respect and enjoy…………….
In Leonardo, MITs art and technology publication, Ellen K. Levy reviewed last October’s 43rd 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. 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 Ashesdeflect 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.
Here are some pic’s of my gallery and show……….