The riveting Untitled (Full Color Butterfly for Hillary 47.22) stuns in its exceptional clarity and mesmeric beauty. His Butterfly paintings operate within the tension between the ostensibly incongruous poles of abstraction and figuration, complicating the formal correlation between the winged insects and the pictures’ purely geometric organisations of shapes. As Douglas Fogle notes: 'Grotjahn’s butterflies hover precipitously close to the line between abstract geometry and illusionistic spatiality, displaying a kind of graphic unconscious that constitutes a paradoxically systematic disruption of a rational and orderly system' (D. Fogle, ‘In the Center of the Infinite’, in Parkett 80, 2007, p. 117).
Grotjahn's iconic composition of complex and radiant colour both challenges and expands upon the paradigms of classical and modernist painting. His genius lies in his revolutionary use of perspective and geometric manipulations of space. Each richly opaque ray of colour is entirely independent, a technique that lends the overall piece Grotjahn’s characteristic clarity and precision. The hypnotic, kaleidoscopic creation that is the present work is flamboyant and electric yet deliberately enigmatic at the same time.
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