William Blake once opined that it is possible to "...see a World in a Grain of Sand / And a Heaven in a Wild Flower/Hold Infinity in the palm of your hand/And Eternity in an hour..." In his poem, Auguries of Innocence, he harked to the sages of antiquity who saw the repeating patterns of the natural world as a kind of sacred geometry that contained the secrets of the universe. But Blake's contemporaries were often more likely to see the natural world as fodder for smoke belching factories. In more recent times, physicists in have rediscovered that nature's geometric patterning actually does contain the secrets of the universe after all, and that ongoing counterpoint between technology and metaphysics is reflected in James Flynn's seamlessly pristine, yet near-hallucinatory, paintings.
Qualia: Geometric Paintings by James Flynn, Through July 25, Callan Contemporary, 518 Julia St., 525-0518. Left: The Oracle of Blessed Friedeberg by James Flynn, dedicated to Mexican artist Pedro Friedeberg.