Image Courtesy of Johnny Abrahams
Nothing could be more integral to comprehending the labor-intensive and visually disorienting geometric schemes of Johnny Abrahams, than having a key understanding of concept of interface. The rudimentary principle of two subjects meeting and interacting is fundamental to understanding the graphic relationships of patterned lines defining Abrahams’ work and the hypnotic illusion of the movement they render. Aside from visually graceful interaction on a physical level, the lines ,that come about meticulously arranged to form a grid, bring about painting’s ability to assimilate and transform imagery made possible by digital age- to analogue forms. Abrahams notes ’ The intention of the works is not to simply replicate digital media, but rather to apply the virtual operations found in digital image making platforms to the material form of paint as a means of commentary on painting’s concurrence with the information age.’ The diligence of hand painted moiré patterns, reaching past their historical and cultural significance, thus result in elegant acrylic-on-canvas works seemingly pulsating with life.