I look upon my art as a 21stcentury fusion of my most significant artistic influences: George Inness’s “civilized landscapes”, Charles Burchfield, van Gogh’s pre-fauvism, Edward Hopper, all combined under an idea I developed thirty five years ago: landscapes contrasting the precise light of contemporary technology (sodium/mercury-vapor; LED; tungsten; fluorescent lighting; auto headlights) against the evanescent lighting of the moon or setting/rising sun. Also contrasted are the precise lines of human construct against the flowing lines of hills, rivers, mountains, clouds. I’ve coined the term technoluminismto describe my work.
Much of my technoluminist work shows automobiles. To me, they present mankind with the mixed blessing of giving us the freedom to go to or leave; while at the same time threatening the planet’s ecosystem with vast quantities of carbon emissions and mountains of waste.
In my “Through a Rain-Splattered Windshield Series,” I contrast the safe world inside and automobile against the unpredictable, if deadly, world beyond the automobile’s confines. Too, the automobile—and other representations of technology—mark the time in which the artwork was created.
-George Grace, Technoluminist / Abstract Realist