Children of the Grid
Children of the Grid will open on September 14th at the William P. Miller Jr. Gallery at Jamaica Center for Arts & Learning (JCAL), and will feature works by Joel Carreiro, Franklin Evans, and
Changha Hwang. The exhibition will be on view through November 26th. The artists’ reception will be held on Wednesday, September 14, 2011 from 6 – 8 pm.
The Grid, a powerful system of spatial coordinates connecting dots in different places, embodies the abstract idea of modernity by being the effective tool for contemporary society. We ubiquitously use it for organizing, constructing, and measuring space; the Grid is found everywhere in our society—for instance, in the pattern of street layouts, in the structure of buildings, and on the screen of a computer monitor.
Given its symbolism, inevitably the Grid has also become a powerful tool for visual artists. The concept of the Grid goes back to the early twentieth century and it has produced the radical outcome of geometric abstraction, causing a seismic shift in the way people perceive the world. The previous use of the Grid in the early twentieth century was rigid, hard-edged, and void of any material information from the external world. In contrast, its recent use is flexible, fluid,
and incorporates fragmentary information of art mediums, art history, or our spatial relationship to the world.
Focusing on the recent use of the Grid by today’s artists in the twenty-first century, this exhibition examines works by Joel Carreiro, Franklin Evans, and Changha Hwang, three masters of the Grid technique. Carreiro utilizes the Grid with partial images of paintings from an earlier era, such as from the Renaissance. Different points of time and space are juxtaposed and layered in
his paintings to lay bare individual or collective truths. Evans’ installation is wild and transforms the actual physical space into one that is imagined and conceptual—joining the virtual with the actual. Hwang combines the Grid with abstract expressionistic gesture of torment, roughness, and dynamics. Like the other two artists, Hwang relates the Grid to the material information that supplies the flesh and the blood of a painting.