In a society devoid of optimism disfunctionality becomes the default setting. Aesthetics encoded with optimism embody social change. John Aslanidis, 2022
Metro Gallery is pleased to announce Sonic Network no 20, an exhibition of recent paintings by John Aslanidis.
Painter, musician, sound, installation and conceptual artist, Aslanidis has been exhibiting regularly in Sydney, Melbourne, Brisbane, Berlin, and New York.
His works have been included in a number of important surveys of contemporary art and acquired by QAGOMA, Heide MoMA, and further regional, tertiary, corporate, and notable private collections in Australia and overseas.
Aslanidis’s vibrant paintings, pulsating with colour, movement, and energy, are created with a mathematical algorithm, which underpins the symmetry of the compositional coherence.
While Aslanidis is often compared to Bridget Riley, Lesley Dumbrell, and other Op artists, his paintings pursue a higher goal of synaesthetic experience.
They reflect the artist’s life-long interest in music and sound, and the challenge of capturing sonic reverberations on canvas.
Quite aptly, one of his site-specific commissions, Sonic Network 11, graces the walls of the Hamer Hall, at the Art Centre in Melbourne; and the colours and moiré patterns of his paintings have been utilised by Berlin-based sound artist Brian May for immersive soundscape performances.
In the Sonic Network series, I use a set of mathematical intervals to compose the paintings: these are relative to a symmetrical grid on each of the canvases.
This drawing that I use as a reference point to compose my paintings is akin to an algorithm or “musical score.” It allows me to improvise when composing the paintings and arbitrarily choose any of the eight points on each canvas to create complex compositions. They are underpinned by a structured approach, which appear at first glance to be random. The intention is to create imagery where there is no starting or finishing point, capturing a fragment of infinity. In this regard my work has a strong correlation with emergence theory, were complex patterns emerge out of simple interactions.
This systematic and interdisciplinary approach has a strong correlation with music, mathematics and science. The vibration created by the kinetic resonance of the sonic network series occupies a sensory dimension, which exists between sound and vision.
Conceptually, I am not trying to illustrate sound but, rather, give a visual expression to its physicality. My concern is with the physical reaction the viewer has to my paintings. There is an experience of an audible hum produced by looking at my works. This idea is closely related to the phenomenon of synaesthesia. A perceptual and serialized approach with conceptual and systematic underpinnings, adopting an idiosyncratic approach, which challenges conventional doctrines and interpretations of art history.
I have explored this area further collaborating with sound artists formerly in a subcultural context as a member of the Clan Analogue a collective of sound and visual artists in the mid to late 1990s. Later in the early 2000s my art was represented on a Sydney/Melbourne based electronic music label, Zonar Recordings. My paintings were represented on this label in the same context as the sound artists who were represented by the label.
In more recent times, I have collaborated with a Berlin based sound artist Brian May, presenting the paintings in gallery spaces in the format of painting/sound installations. Through arranging sounds produced by reading the oscillating and kaleidoscopic variations of colour and tone present within my painting, May created immersive soundscapes that directly relate to the colours, moiré patterns, and compositions I have put down on the canvas.
The overall visual effect being one of a perpetual change, with the intention of disorientating the viewer and a creating a contemplative optimism.
- John Aslanidis 2022