STRING Theory On Canvas
It is sometimes said by people who enjoy insular categorization that art and science are pretty much antithetical. Those more familiar with the foundations of classical art and the renaissance thereof some 2000 years later, know better. The trajectory from Antiquity to the Renaissance is really applied geometry and physics.
A serious argument can be put forth that certain exploits in modern and post modern abstract art are directly correlated to discoveries in quantum physics. While I will not unpack that argument here, I will say that it is impossible for me to not contemplate String Theory when looking at Eric Goldstein’s work.
Here is my very simple and reductive single paragraph layman summary of String Theory to contextualize what I’m talking about:
String Theory posits the idea that material reality can be reduced to a one dimensional interconnected matrix of sub-matter called strings. These strings are said to vibrate in many different ways, with each vibration giving rise to a different species of particle (particles being the building blocks of matter). The interaction of these different particles with each other (each created by sub-particle string vibrations) ultimately constitute the material reality of the universe.
Now tell me that Eric’s work doesn’t illustrate this theory in a most poetic, poignant and tactile manner. When I look at pieces like Howe Sound, Old Trellis Fence or Breaking Through to name just a few, I feel I’m looking through things in such a way that I can literally see the complex levels of quantum reality that is more real somehow than the familiar appearance of reality consisting of light bouncing of matter, traveling to my retina and being processed by my brain as… I don’t know… an Old Trellis Fence, or a place called Howe Sound.
Goldstein describes his process thusly:
“By distilling the basic elements of colour, texture and line from the landscapes of my world, my abstract canvasses endeavor to portray nature in motion, not as nature appears but as nature feels; unspoken, indescribable and sometimes chaotic.
I approach these canvases one line at a time, measuring, removing and repeating to create shapes that work in graphic harmony. Constructed with various colour organic threads, acrylic medium, metal foils, paint and plaster, my canvases expresses cinematic compositions that create emotional narratives with kinetic energy.”
You can view his amazing portfolio here: www.ericgoldsteinart.com
Be sure to check out the video he’s posted that shows the completion of one of his pieces from beginning to end.
Aside from producing the amazing art that I am writing about today, Goldstein has had a long and productive career as a cinematographer. He has photographed over 30 features and televised movies of the week. His work has garnered several awards: An Eastman Kodak Cinematography Award for his contribution to the Oscar nominated short, Contact starring Brad Pitt, a Best Cinematography nomination at the BC’s Leo Awards for Zero Sum, and a Best Cinematography Award for How’s My Driving, at the International High Definition Festival and recently received a Gemini nomination for The Last Days of The Raven. Eric’s distinct style has been aptly termed “lustrous naturalism”.
Editor in Chief, Writer and Juror
Exhibeo Art Competition Magazine