May 4 – June 9, 2024
Gallery Route One presents (im)material, — an installation addressing the arbitrary nature of reality by GRO Artist Member Jenny-Lynn Hall.
This installation addresses the arbitrary nature of reality. Moving through time, unforeseen events both large and small shape our understanding of life. In this series of paintings, the randomness occurring in our individual lives is overlaid with the constant of the interconnectedness of all life, which cannot be seen but sensed. Interconnectedness is represented here by a geometric sub grid, made of elements and proportions that are found in nature; sense-of-self by the transparent and opaque and layers of colors that obscure the geometric grid. The geometric pattern underlying these paintings is based on hexagons and expansions of six. The hexagon sets up 45, 30 and 60-degree angles which are commonly found in natural forms. This grid is a metaphor for harmony and connection.
Every living thing has unique anatomy and unique ways of perceiving. Perception of reality varies for each person not only through the variance in our sensory organs, but also due to any preconceived notions.
Hall explains, “We only see our physical bodies in reflections in a flat mirror, whereas others see us moving through space from all angles. We do not know what we look like most of the time. We do not know the effect that we have on others when they interact with us or simply look at us.”
The driving theme for (im)material is a mysterious connectivity beyond the thinking mind that links all of life. Most religions speak of an invisible guiding force, described by many names. Geometry has been used by many cultures to illustrate the concept of interconnectivity.
(im)material Artist Statement
This installation addresses the arbitrary nature of reality. As we move through time unforeseen events both large and small shape our understanding of life. We are ever changing as a result. In this series of paintings, the randomness occurring in our individual lives is overlaid with the constant of the interconnectedness of all life, which we cannot see but sense. Interconnectedness is represented here by a geometric sub grid, made of elements and proportions that are found in nature; sense-of-self by the transparent and opaque and layers of colors that obscure the geometric grid.
Our experiences come to us through our five senses. All of this information is processed in our minds and comprises our experience of reality. Every living thing has unique anatomy and unique ways of perceiving. Perception of reality varies for each person not only through the variance in our sensory organs, but also because we hold preconceived notions.
We only see our physical bodies in reflections in a flat mirror, whereas others see us moving through space from all angles. We do not know what we look like the majority of the time. We do not know the effect that we have on others when they interact with us or simply look at us.
We might model ourselves after the style or manner of a person that we notice or admire. That person doesn’t have precise knowledge of what they are projecting. We alter our behavior based on such notions when deciding how we might want to become or appear. Often we modify our behavior based on how we figure we will be accepted or respected by others. We make decisions continually based on uncertain information.
My interpretation of immaterial for this show is a mysterious connectivity beyond the thinking mind that links all of life. Most religions speak of an invisible guiding force, described by many names. Geometry has been used by many cultures to illustrate the concept of interconnectivity. Hidden geometric sub-grids represent the underlying structure of reality upon which the physical world is overlaid.
The geometric pattern underlying these paintings is based on hexagons and expansions of six. The hexagon sets up 45, 30 and 60-degree angles which are commonly found in natural forms. This grid is a metaphor for harmony and connection.
The opaque and transparent colors represent the world that we create in our minds that obscures this fundamental interconnectivity. These two realities co-exist. In these paintings these two realities are blended in alternating layers: the geometric forms on one, color glazing and opaque layers of white on others. These layers represent the concept of the material world.
That the grid seems figurative and the obscuring layers of paint ethereal is intentional. The noumenal and phenomenal co-exist. This concept is described in Buddhist Heart Sutra, which states “form is no different than emptiness, emptiness is no different than form.”
This series of subtle paintings illustrate how we are connected and also the distinct originality of life in all of its forms.
It is about what distracts us from seeing the underlying.
It is about how we construct our own realities.
It is about how these realities are fragile, continually changing.
It is about the equality of difference and sameness.
It asks you to look deeper.
