Atlanta’s Whitespace Gallery recently premiered “Infinite Body,” the newest, breathtaking creation from Belgian artist Bojana Ginn. In many ways, “Infinite Body” is not a far departure from Ginn’s past work. She has distinguished herself with unconventional combinations of architecture, technology and color — all of which are encompassed in the popping neons and bold structures of this installation.
Thin rays of pinks and greens cascade across authentic sheep’s wool arranged in a three-dimensional, rectangular structure along the walls and ground. Framed work along the adjacent wall depicts mystic clouds of yellow and pink with intertwined rays and a blurred shaping. Ginn challenges her audience to rethink common perceptions of structure and the way in which developing technology can inundate the art world. Her paintings have frequently been compared to lasers and digital software, and even her sheep’s wool has a futuristic, digital aura to it.
Ginn’s work manifests, almost eerily, the opportunities of technology in the near future. Much of what she details in her painted clouds and sheep wool sculpture is the emergence of a tomorrow that is radiant and lively, yet also sterile and scary in its abstractness. She brilliantly juxtaposes the excitement and paranoia that many people hold toward the future without overwhelming details or intricacies. Such simplicity is, perhaps, what makes ‘Infinite Body’ so chilling. Though experimenting with bold materials such as neon lights and wool, “Infinite Body” does not overwhelm its audience. Ginn has taken the admirable approach of communicating her ideas through more subtle means and leaving audience interpretation wide open.
One aspect of “Infinite Body” serves as a pleasant departure from much of Ginn’s past work. She has become established 
with her bold usage of bright hues and striking contrasts between colors; however, in a neighboring room the exhibit, she experiments monochromatically. The pictures, with their cloud-like rays and futuristic appeal, mimic her past work but are distinguished by their use of black alone. This step away from color has inflated the grim nature of Ginn’s work. Alhough a sudden transition to blacks and greys would typically feel digressive and uninspired, Ginn’s monochrome work feels just the opposite. Walking between the two rooms of “Infinite Body” — one bursting with color and the other with the lack thereof — is jarring in an almost surreal way.
“Infinite Body” is a truly excellent work of art; it exhibits both qualities that Ginn has become known for throughout her career as well as new experimentations into the future and reality. Make sure to check it out at Whitespace Gallery before it closes on May 13.
Holyn, 16, is a junior at DeKalb School of the Arts. She took the photos and wrote this piece as a participant in VOX’s writing intensive with BURNAWAY, a five-session program offering teens the opportunity to write about and look at art in metro Atlanta.
About the VOX-Burnaway Writing Intensive:
Each session in our partnership with Burnaway starts with a discussion led by a professional member of the art community, lunch at the VOX headquarters, and then a field trip to a MARTA-accessible art location. Teens travel to the High Museum, Mammal Gallery, Whitespace and the Beltline during the course of this program.
Participants are encouraged to use the themes of diversity, accessibility and activism in their writing and during discussions. Email Sarah@voxatl.org if you’re an Atlanta-area teen interested in participating or learning more.
