Jonny Honky the X From X O Debbie Jonny Honky Art

Sensory Overload

Mix yourself a margarita, popular on your shades and admire a glam stone sunset equally you lot immerse yourself in Australian artist Jonny Nieshe'south vividly coloured, sense-stimulating structures.

2018-x-25 | by Kim Laidlaw

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'Mutual vibration' (love light) past Jonny Niesche 2017 @ Sarah Cottier Gallery

Australian artist Jonny Niesche lures in the viewer with his rousing colourscapes full of intense pinks, blues and greens. Fifty-fifty browsing his images on his Instagram (@jonnyhonky) or his website (www.jonnyniesche.com) conveys some kind of atmospheric physicality that emanates across the screen—but visiting his works in person becomes almost immersive, as the viewer moves around and amongst his colourful 3D structures.

From his studio in West Sydney, which he shares with 3 friends, Jonny Niesche creates abstract works that bridge the media of painting and sculpture, featuring his signature bright hues combined with mirrors and metals. Having begun his studies at Sydney University, Jonny Niesche went on to report for a main'due south under Heimo Zobernig at Vienna'due south Academy of Fine Arts, which brought a European perspective to his thinking, especially from the betoken of view of minimalism, a huge influence on his work. Indeed, in a style that calls to listen the greats of the minimalist movement, reductive forms vibrate with the energy of brilliant colours and take a seemingly sensory effect on the viewer. Jonny Niesche expands on this in reference to philosophy (with a surname like his—just a T and a Z curt of Friedrich'southward—it would, quite frankly, be disappointing if there weren't some kind of philosophical reference to his piece of work): "I am a massive fan of French philosopher Michel Serres who talks virtually cutting through the noise of the everyday to the primacy of our senses."

Bold and simplified chromatic expanses describe comparisons to the color fields of the Abstract Expressionists. "I have ever been interested in the nifty colourists like Josef Albers, Ellsworth Kelly, Marker Rothko and also the more than contempo low-cal/colour artists from California like James Turrell and Robert Irwin," he confirms. With Jonny Niesche, gradients of neon pastels—electrically charged turquoise blues fading into hit fuchsias—conjure up an atmosphere of Miami sunsets, kitsch cocktails, and carefree, tropical warmth. Saturated tones seem to resonate, due in part to their soft-focus blurred edges every bit they bleed into each other in works such Mutual Vibration (Address the Body Whole) and Vertigo Effects of the Common Thread, again speaking directly to the viewer on a primary, sensory level. Jonny Niesche goes as far to explain that this very business organization defines his piece of work as an artist: "I explore the expanded field of painting and abstraction by reformulating our understanding of the furnishings of light and color on the human senses."

'En dehors' (scarlet to choral) by Jonny Niesche 2018 @ Sarah Cottier Gallery

"I recollect being astounded by the cosmetic departments. Mirrored surfaces everywhere, mirror polished brass and the widest selection of colours I had ever seen."

Jonny Niesche's distinctive palette also brings to mind glam rock and the flamboyant makeup of the 70s and 80s à la David Bowie and Debbie Harry. Such is the case for the highly pigmented red, chroma and coral tones in the appropriately named En Dehors (Scarlet to Choral) exhibited at the Redlands Konica Minolta Art Prize before this year. And for Cracked Thespian, Jonny Niesche's commencement UK solo testify that took place in London in 2017, the creative person exhibited a range of man-sized articulated screens filled with tonal gradients that were taken from the embrace Bowie'due south album, Aladdin Sane (the fifth rail of which lends its name to the exhibition title). In Moving-picture show This, a series of freestanding painting-shaped sculptures filled with rectangular fades featuring mauve, rose and orange, Jonny Niesche took colour samples from images of Debbie Harry's hair and brand-up during the 70s. "I remember as a young boy wandering around shopping with my mother in department stores in the early 80s," Niesche reminisces. "I recollect existence astounded by the cosmetic departments. Mirrored surfaces everywhere, mirror polished brass and the widest selection of colours I had ever seen. This has ever stayed with me. So, equally a result, I took colour samples digitally to create color palettes for some of my works."

"I am interested in our current 'Selfie' obsession, our insatiable desire to look at ourselves,"

As recounted in this tale from his childhood, Jonny Niesche, while undeniably obsessed with colour, is as well fascinated by reflective surfaces. His boldly toned forms are invariably bordered with loftier-shine metals, or are produced using a silk-screen type technique in which he prints onto a transparent material that is so stretched over acrylic mirrors. This reflective quality brings the viewer into a relationship with the piece of work as their gaze is mirrored dorsum to them while they contemplate the art. "I was intrigued by an interview with Bruce Nauman where he was talking about a desire like situation when yous are looking in a shop window at something you want and at some indicate you are apprehended by your own reflection," he reflects (pun intended), bringing upwards the zeitgeist topics of consumer culture and self-obsession. "I am interested in our electric current 'Selfie' obsession, our insatiable want to look at ourselves," he continues.
Indeed, as both cogitating surfaces and three-dimensional objects, his work implicates the gallery visitor as they move effectually and are linked to the work, and implicates the work in the infinite in which it is shown. "I experiment with the furnishings of interactivity, involving the viewer spatially and physically in the human action of looking," Jonny Niesche explains. Some works feature sinuous outlines or are encircled with serpentine curves, while Dearest Knuckle is something like a cantankerous-department of an Alvar Aalto vase in polished brass, evoking a voluptuous reclining woman in profile. Niesche explains that these rounded shapes are a reference to the human body: "I am interested in forms that propose or insinuate the body in some way. In a gallery infinite this can brand u.s. aware of ourselves in the act of viewing."

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He goes on to highlight how important this three-style relationship between the fine art, the setting and the person contemplating it is. "I am interested in creating a visual and physiological conversation betwixt the piece of work, the viewer and the surround in which the work is exhibited. I had been looking at artists like Dan Graham who works a lot with translucency in his spatial architectural installations. This led me to recall well-nigh experimenting with optics and exposing processes of perception. How looking through a work itself, the experience of the space, and the other viewers' experience within the same piece of work could be the central functioning form."
The public will once again be able to interact with his work his forthcoming exhibitions: a solo evidence, Movement Flick, at the Station Gallery in Melbourne featuring scaled-up pieces; a solo testify in Vienna with Zeller van Almsick Gallery, for which the artist's first monograph will be published; and a solo show in Majorca in May at the Lundgren Gallery in Palma. But if you can't book a ticket to any of these destinations to feel a holiday escape and a visit to these exhibitions first hand, stick an umbrella in your cocktail and feel the vibes of these sunset-similar colours via your screen as you scroll through the images of his latest works on his Instagram feed.

Visit Jonny Niesche's website

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Source: https://www.blowupguild.com/gb/blog/32_art.html

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