By Christian Viveros-Fauné
By Miriam Felton-Dansky
By Tom Sellar
By Tom Sellar
By Jessica Dawson
By Tom Sellar
By R. C. Baker
By Tom Sellar
Grotjahn's most common, but not his only, motif is a starburst pattern, a kind of pinwheel or radial butterfly configuration with the two wings sharing an off-center or slanting vertical axis. Imagine a view of a sunset through the viewfinder of a geometrizing lens, then rotate that image 90 degrees; that's Grotjahn's basic pictorial program. Essentially, he's rendering one of the oldest standardized drawings in the booktrain tracks going back into infinity. But the subtle changes he renders make you see something you may never have quite seen before, even if you don't know you're seeing it at first.
Grotjahn's work appears simple, but its implications are radical. He paints and draws a sort of metaphysical-visual rift in the fabric of perspectival space. This slippage simultaneously activates and destabilizes how we usually comprehend topographic space. The way three-dimensional space is rendered on a two-dimensional surface is miraculous and efficient. It is also learned and artificial. In fact, one-point perspective had been around for millennia before it was supposedly "invented" in around 1400 by Brunelleschi, Alberti, et al.; it just wasn't of particular interest to audiences, who must have been bored by how rigid it was. Regardless, there is foreshortening on Greek vases; Egyptians experimented with atmospheric perspective, as did cave painters; Roman murals often employ strict vanishing points.
In actuality, perspectival space accounts for only a tiny sliver of the whole history of art; it was practiced in a relatively limited geographical area (Europe and America), and it began waning around the mid 19th century. To this day people associate it with "realism." Yet perspective is no more objective or real than the idea that the earth is the center of the solar system or that the sun is the center of the universe.
Because the vanishing points in Grotjahn's pinwheeltrain tracks are located in two or more asymmetrical spotsone higher or lower than the othersthe vertical strip where the two planes touch is no longer an endpoint but a mesmerizing optical and psychic opening. It is a threshold to a new dimension rather than a terminus. Grotjahn allows you to grasp that one-point perspective is a system that continually brings you to the same point and that this point asserts itself as optical law. Perspective is entirely about order and the psychological pleasure of the illusion of looking into space. One of the mad benefits of this maniacal ordering is that each person is also granted the demented, deluded position of being a god. You, the maharaja of all that you survey, are the fixed singularity that all things rush from or toward. It's very lonely,insanely Freudian, and likely has to do with fear, loss, and death anxiety.
Grotjahn undoes the insanity of oneness. By tampering with its visual clues (e.g., shifting and multiplying vanishing points, tinkering with the rhythms and widths of receding lines, altering patterns of repetition, playing with optical torsion), he eludes the authoritarian centrality of perspective and creates a sort of blind spot or civil war between spatial systems. In effect, Grotjahn outfoxes the ego-centered Ptolemaic rendition of the universe in favor of an unstable, enigmatic Copernican system of space, where centers are understood as subjective and always in motion.
In Grotjahn's world you follow one set of lines to the vanishing point, then do the same with the other. After repeated trips to these focal points the illusion of receding space breaks down and reconfigures as you begin to make out a visual-conceptual alternative to the rigid system you've always relied on. You experience a kind of reincarnated space. It's like living on a planet with two suns. In Grotjahn's retinal-cerebral wormhole, space recedes and is flat at the same time. Possibilities open and systems waver as seeing turns into something richer, less certain, and more alive.
For all this, Grotjahn's art is also fairly traditional and old-fashioned. He can come off as a latter-day formalist. Like Brice Marden's early monochromes, Robert Ryman's all-white paintings, Alfred Jensen's mathematical mandalas, and Bridget Reilly's arrays, Grotjahn's work is sensuous, thoughtful, and subconsciously disruptive. His touch is diligent and dogged, his surfaces burnished and raw; his palette recalls early-20th-century advertising, '60s graphics, and certain Dada works, especially Marcel Duchamp's last painting, Tu M', a work from 1918 featuring color swatches streaking across the canvas.