Longchamp Omatesando Project Tokyo

 

 

John Aslanidis has completed his major site-specific commission for Longchamp’s Omotesando boutique in Tokyo’s Harajuku precinct.

Taking one month to complete, the 84 sqm wall painting extends across three levels and is now open to the public.

This commission is in keeping with Aslanidis’ elegant chromatic paintings which offer a vision firmly grounded in knowledge of physics, mathematics and music theory. Colour is liberated, and balanced by greys and blacks married to complementary opposites to create high contrast and compositionally resolved works.

To read more there is an interview with John Aslanidis and i-D Vice Magazine Japan regarding the Longchamp project here.

Sonic Network no.17

 

JOHN ASLANIDIS
SONIC NETWORK NO. 17
27 SEPT – 21 OCT 2017
OPENING WEDNESDAY 27 SEPT, 6–8PM

Gallery 9 is proud to present Sonic Network No. 17, a new series of paintings from Melbourne based artist John Aslanidis. This exhibition follows the recent completion of Aslanidis’ major site-specific painting for Longchamp’s flagship Omatesando boutique in Tokyo’s Harajuku precinct.

Sonic Network No. 17 extends Aslanidis’ ongoing exploration of the visualisation of sound in art. Combining intuition with scientific precision, Aslanidis renders sonic waves with rhythmically interpenetrating concentric lines. His complex patterns and carefully selected chromatic intensities are experienced like musical scores that emanate sound and vibration. They harness both an arresting elemental stillness and an endlessly pulsating movement, like spinning planets and orbiting moons.

John Aslanidis has exhibited in Sydney, Melbourne and New York for almost three decades. Recent achievements include a six month residency at the prestigious ISCP International Studio Program in New York (2016), a survey exhibition at the Australian Consulate-General of New York (2016) and the recently undertaken commission for the Longchamp fashion label in Tokyo (2017). In 2016 Aslanidis also exhibited in Berlin, presenting his sixth collaboration with sound artist Brian May.

Aslanidis is represented in the collections of Artbank, The University of Sydney Art Collection, New England Regional Art Gallery, Westmead Children’s Hospital, Melbourne Arts Centre, Allens Linklaters and numerous private and corporate collections in Australia, Europe and the USA.

Sonic no.59

If we could see music, what would it look like?

 

John Aslanidis probably takes us closest to the answer of this question. He has travelled a unique path with his paintings, which he exhibits internationally, exploring the sensation of sound fixed within another medium – and, specifically, of electronic music.

 

The viewer experiences the sensuous ripples and overlapping rings of colour that travel across the canvas, bouncing against each other and folding back across the picture plain, as music and sound vibrate through space. We see both shallow and deep spaces evoked, so that we are subsumed by the experience of looking. When we stand before an Aslanidis painting we can almost experience them as sounds, which the colours suggest in our subconscious. This kind of synesthesia has been commonly remarked upon by viewers of his paintings.

 

Wassiliy Kandinsky, working at the dawn of the C20th, was one of the first artists to attempt to move across boundaries between visual art and sound/music, and he developed an almost scientific approach to colour, shape, form and volume. He claimed that he could ‘hear’ musical chords as he painted; he said that “yellow is the colour of middle C on a brassy trumpet.”

 

Aslanidis has developed much less subjective, and, arguably, more inclusive and generous inroads into a related area of exploration. It is not necessary for the viewer to learn Kandinsky’s programmatic colour theory. With Aslanidis’ paintings the viewer is swept up into the maelstrom of colour and sound and rhythm and vibration, automatically, without having to over-process it. The paintings just exist and we become a part of them, simply by standing in front of them.

Exhibition Dates
 01.03.17 – 25.03.17
Opening Reception
 04.03.17
2 – 4pm

 

For private viewings, please email 
yasmin@nkngallery.com

Grants and Residencies:

 

2016
Skills and Arts Development Grant, Australia Council for the Arts
International Studio and Curatorial Program, New York, Australia Council for the Arts
International Residency Program Location One, New York

2011
International Studio and Curatorial Program, New York, Australia Council for the Arts

2010
Skills and Development Grant, Australia Council for the Arts

interference

Upcoming Exhibition: Interference
Curated by Steven Salzman and featuring artists Johnny Abrahams, John Aslanidis,Daniel Hill, Gilbert Hsiao, Julie Oppermann, and Jessica Rosner.

Interference explores the physical phenomena of wave superposition. Waves of air, sound, and electro-magnetism permeate our environment and penetrate our bodies. Interference patterns,in this group exhibition, are analyzed visually and poetically.

 

Opening Reception
Dec 2, 7–9pm
Exhibition Runs
Dec 3–Jan 8

Visit us at NURTUREart Gallery

56 Bogart St, Brooklyn, NY 11206.

Thursdays–Sundays, 12–6 pm. 718-782-7755