Jan Kossen

Contemporary Art Gallery

Jon Meritt







Artists Statement

I am always experimenting with a range of geometric art projects. Geometric forms are immanent in our environment and so I collect points of inspiration everywhere I go and I also look to glean additional components to ongoing bodies of work. Geometry in art also has a diverse and unfathomably deep history from which I take many opportunities

to consider. I believe in showing geometric art a mirror of itself. I have invested much of my attention and interest to a 20th-century abstract painting and sculpture as a model for building artworks. Not long ago, however, looking back in that vast history, I came to question whether or not the application of geometry in the decorative arts of earlier

times had a greater depth of field and more nuanced mechanisms of delivery. I find geometricized animal representations in textiles, for example, to be more liberatory forms of art than monumental, pure abstractions, because they originate from lived experience rather than pure fantasy. Likewise, the Egyptian obsession with

geometrized lotus motifs demonstrates a very artful enjoyment of plant matter within their world view. Such stylization can be a very active way of experiencing our world, as opposed to what are perhaps more reifying fantasies. With my newest projects, I am attempting to mix-up a divide between the two dominant manners of geometric art. What parts of one art form can be used to renew another? Geometric art is here to stay, but how can its power be demonstrated as well as augmented in our present moment?