Green Graffiti / Jungle Me
Inherent in the Green Graffiti/ Jungle Me works of the French artist Jonathan Longuet is a personal exploration of an organic growth process and the unfolding of the natural environment with its increasingly complicated and tenuous relationships with humanity. In essence, they investigate and express energy, effort and inner processes, which extend beyond the archetypical boundaries of aesthetic manifestation to juxtapose and ponder the parallels of science and art.
Jonathan in tandem with scientists creates and documents cultures of algae which he then utilises to paint. Distilled water is sprayed upon the surface and recharges the living organism. Thus, in the spirit of Environmental or Earth Art, and many of its renowned enactors such as Robert Smithson, Christo, Andy Goldsworthy and Joseph Beuys, his works are in the act and process of unfolding. Some of his painted figural images derive from collaboration with Manou/Wearabout, an acclaimed Indian street photographer.
In 1956, the Hungarian
born artist, designer, educator and art theorist Gyorgy Kepes (d.2001) explored
the fusion, parallels and queries of these two realms in his landmark tome, The New Landscape in Art and Science
(Chicago: Paul Theobold and Co.). Founder of the Center for Advanced Visual
Studies at MIT, this work blended modern works of at with scientific images
rendered by advanced technological devices. The congruence of scientific
imagery and the vistas of art belie deep connections and myriad sources of
inspiration (cf. Arts of Environment,
New York: George Braziller, 1977). In Language
of Vision (1944, p. 13), he wrote that “visual communication is universal
and international…the visual arts as the optimum forms of the language of
vision, are, therefore, an invaluable educational medium.”
installations, public works, a variety of terms address the dialogue of
ecological and environmental dynamics, through the lens/prism of the artist.
Nature has ever inspired artists from the classical to the avant-garde. Organic
materials from mud to natural pigments to handmade paper, from plants to rock
to trees constitute the base of many traditional art forms still in practice
across India. Jonathan’s fusion of the arts and sciences, his embrace of
diverse sites and participatory audiences imbues his Green Graffiti with heightened significance and import of artistic
endeavour, in a world beset with challenges of human sacrifice and misuse of