The sublime cannot be seen. It can only be sensed, felt, foretold and perhaps described, though always inadequately. It is by its very nature, seductive, beyond language, and something that can only be experienced to be fully understood, like connecting for a three-run homerun with a wood baseball bat or experiencing a beautiful act of love with a long-time lover. The art and thought of George Anastasios Magalios (aka Jorge Griego, Will Swinburne, Georges Ducharme, and Giorgio Fati) dares make the sublime a key material in the artist’s work, regardless of medium or format.
If the sublime in the work of George Magalios is a cipher or a mystery that goes back 30,000 years then the key is his palette, more specifically, what the artist calls “the ground palette”. Based on readings from his website, groundpalette.net, the artist explains the groundpalette as a chromatic and conceptual paradigm within which he undertakes all his work. Inspired by mysterious quasi-abstract rectangular paintings on the walls of Lascaux and other sites of pre-historic art, the ground palette is at once a logo, a trademark, and a philosophical foundation for the conceptual and material exploits Magalios undertakes.
What makes the work of this Canadian artist unique and bordering on the sublime is the way in which he fuses art and deep philosophical studies (Magalios has a formal education in the philosophy Martin Heidegger) into a structure that houses unique, yet related, bodies of work. The sublime is the weather, or more precisely, the atmosphere around this structure and within each floor, or room, the paintings, performances, photographs, and sculptures recede and reveal within the chiaroscuro of truth.