This gallery is the first of the ‘blue chip’ variety (using that term loosely) that I have walked into with the intent to write a review. This is also probably the first time that I have ever made an appointment to view an art exhibit. I felt cagey about visiting, because I thought it was presumed that if I made an appointment, I was to be mistaken for some one who could buy an art peice, and that I would be alone with one gallery attendant in a large quiet room. On both counts, I was a little repelled, but decided maybe it wasn’t that abnormal to schedule an appointment to view art. I’m glad I did, because Heron Arts is a special gallery, with a roster of recent shows that would be a delight to experience for anyone, art lover and generally unimpressed lump of a man alike.

Looking at the slate of shows from the previous year, it would seem to me that Heron Arts has a high bar. This bar isn’t set on that weird and indefinable intrigue that we ascribe to modern artists. The work isnt presumed genius on the merit of it being there, or being expensive. It appeals to something else. Heron doesn’t seem to pander to wanton public obsession. Heron doesn’t attempt to garner patrons with works that imply that one SHOULD understand their inherent value, and that if one doesn’t, it’s their own flaw. There is no stench of tax evasion through art aquisition, or philanthropic navel gazing to avoid confronting any billionaires foibles. It appeals to the viewer on human terms, on practical, fun, and modern terms. Maybe I am just particularly impressed with galleries that seek out work that combines technology, programming/code writing, robotics, and lights. Is it gimmicky? Does it lack that quiet insistence that it is worth contemplation, deep study, and respect on merit of its compositional genius, or its place in the history of the canon, and is therefore a hat trick? I dont think there is a yes or no answer for this, but I do think any insistence on these two counts would fall neatly into the category of gatekeeping art snobbery. Why mention it, then? I dont know, I guess thats something you have to contend with in the art world. Or at least, I feel like I do.

Tangible, immediate, and scientifically informed, Resonance in Light is celebrating its third reiteration in the Heron Arts space. The show uses software made specifically for this event; practical effects with LEDs on plexiglass, metal working, music writing, machine building, light programming, and extra large bean bags and shag rugs for viewers to take it all in in a state of relaxation. This exhibit akcnowledges the body, the mind, and it also is accessible for those with disabilities by way of having multiple modalities to experience the work.

In the last few years I have been to four exhibits that feature comfortable seating, interactive features, and immersive sound and light instalations: Pippilotti Rists Survey ‘Big Heartedness, Be My Neighbor’ at the Geffen Contemporary at MOCA, Yayoi Kusamas Infinity Rooms, or Ragnar Kjartensens The Visitors, and Meow Wolf’s Santa Fe installation. I can think of a few more I havent experienced, like the MOMA’s “Black Power Naps” or the Van Gogh Immersive Exhibit, or the WNDR museum.

What is this surge in interactive work about? To me, it seems like artists are seeking to keep up with the times and allow modern tools into their work. It also keeps that essential practice of play and learning in ones practice. Think of all the times in history that art decried the integration of new media, like film. I also think of artists who want to make work accessible to people without lathering their work with art historical references, implications that viewers have a rich appreciation of color theory and compositional know-how, or the cultural associations associated with common symbols or artifacts injected into the work. An artist who comes to mind is Ellsworth Kelly, who likened simple paintings celebrating a single color to art that anyone could understand. Interestingly, these come off as some of the worst crimes of art scammery, as they give no visual context for anything other than rebellion against the conventions of art from years prior. Celebrations of color, though important for the forward trajectory of art and where it lands today, seemed lazy and pompous. We seem to be coming at it from a different angle now, from minimalism to maximalism.

Back to the main course. The space was comprised of two large rooms, a divider between the main concourse and a small inviting niche with a large shag rug and several tuffets, for sitting and laying, with lights coordinated to the music that came from three large compositions of gongs in the neighboring room.

Spread throughout the room were large statuesque machines which featured carefully tooled and arranged gongs, accompanied by mallets that were triggered by electrical pulses and swung by unseen machinery; kinetic sculptures devised by the artists involved. These artists work collaboratively under the umbrella of a body of work they collectively commit to called The Gamelatron Project, the artists involved being Aaron Taylor Kuffner and artists John Edmark, JoeJoe Martin, Keegan Arthur Olton, and John Taylor. These works are inspired by Indonesia’s Gamelan, a tradition of playing music with metal drums and gongs hit with mallets. This kinetic sculpture played a song that was roughly 4 minutes long. The acoustics of the space suited the music well, with varying frequencies set to a backdrop of suspended time and meditative calm.

In the larger of the two spaces were additional works that were primarily about light. From the ceiling hung strings of LED lights that played a rhythmic show of rainlike patterns, the coding of which was done with a program written and patented by the artist. The lights were made to play in tandem wiht the music. On the far wall were metal planets with lights inside which glowed in changing colors, also coordinated with the malleted gongs.

Resonance in Light is a returning exhibit at Heron Arts, read more about the artists and the gallery here:

https://heronarts.com/exhibition/resonance-in-light