John Bonick
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John Bonick describes the ubiquitous, loopy lines that fill his new paintings as his "basic unit of visual vocabulary." Referred to as "channels," Bonick sees them as being "embodiment(s) of energy flow and exchange."

The lines can be connected to myriad other contexts, functioning visually as much as fibers, arteries, vines, nerves, branches, trails and crevasses do in the natural world.

Sometimes Bonick's lines resemble nerve bundles, layers of sediment, markings on tree trunks. The lines generally extend beyond the picture plane, giving the sense of only partially telling their stories. Bonick's lines often bend and flow, wrapped closely next to each other like the rings around a running track or the whorls of a fingerprint. At other times his lines are stacked on top of each other, like fine horizon lines searching for air. At other times, the lines crisscross the picture plane in layers, moving in apparently random and diverging directions.

A crucial theme of this work is connection, which does not rely on specific meanings or associations. Viewers will develop their own readings of the images, seeing in them connections to pathways, maps, organic and not-organic structures, even Aboriginal paintings. Bonick is in turn interested in exploring both the possibility of meaning, as well as the potential difficulties it can create. If connection is the point, at what point does connection become bound up and lost through direct interpretation?

For Bonick, "The channels are metaphoric of a kind of connectivity and connectedness...they pulse with the continuous flow, a flow that binds and connects all things spiritual, informational, and biological."
- July/August 2008