by L.A. Ivers - 5 June, 2002

  John Zoller - United States: Color & Learn

   by L.A. Ivers

Initially, his figurative works look like pop imagery, with bright, coloring book style characters outlined in black. John Zoller departs from classic pop art in two ways: rendering aspects with a painterly technique creating depth, contours and texture, and in the use of a broad color palette. Primary colors are a hallmark of classic pop art.

The series, begun before 9/11, couldn't be timelier. The works, oil enamel and vinyl acrylic on canvas, and ink on paperboard are loaded with meaning, metaphor and irony. While offering us a clear-eyed presentation, Mr. Zoller successfully walks a tightrope in giving the opportunity for differing viewpoints equal time. He uses the post-modern technique of appropriation: these works are taken from children's coloring books. Coloring books were meant to be instructive to children, the works here are meant to be provocative to adults. These iconic images are readily recognizable for Americans and that familiarity gives immediacy to the viewing experience.

Mr. Zoller offers visual cues in a non-linear format. The titles of the works are important in that they offer a direction and a descriptive context. Each work is meant to stand on it's own individually, and collectively as an exhibition and series. It's up to you to connect the experiential dots. The viewer, making the exhibit interactive, defines the thread that connects this American iconography.

The works are contemporary recycled images that trace the same meaning from the past to the future. Taken collectively, interpretations can run from seeing a blissful utopian America to a jaundiced view of toxic America, or anything in between. The work thus serves as a warning, by forcing us to examine our beliefs. It also serves as a metaphor for personal responsibility. The inherent irony of the work, from seeming funny, lighthearted and cute and at the same time deadly serious and cynical is evident to Mr. Zoller. He cites people's reactions as running the gamut from getting weepy to laughing hysterically. Most ironic of all are the relentless blue skies, and scenes populated exclusively by white people. The unreality of these devices may be the biggest clue to the artist's thoughts.

Military images are about protection-what is being protected and why. They are also about sacrifice, and a reminder that freedom isn't free. We are, after all, at war right now. These are juxtaposed with images of recreation, work, family and prosperity. Leisure is implied as the reward for hard work and progress. This juxtaposition creates a tension-the push and pull in a visual microcosm of life in America. It's all those things at once, a profusion of contradictions and opinions.

"A Little American Girl's Dresses" elicits a sweet and nurturing sense. "His Mother Prepares Dinner" evokes the comforts of home, the sanctity of family, and the traditions and institutions we hold dear. "Iowa Produces Much Corn Which Is Fed To Hogs" is an idyllic farm scene but the child is watching hogs get ready for slaughter. It also comments on patterns of consumption and consumerism. "Nevada Sheep Trek" where sheep are led to new pastures is political charged and has religious overtones. "This Is Fun" depicts carefree recreation by conservative American youth. "Feeding An Orphaned New Hampshire Fawn" shows sweetness and innocence covering the whiff of implied violence. "Which Club OJ?" is blatantly funny and sarcastic. Most powerful of all is the juxtaposition of the two diptychs "Hand Grenades" and "Strike". The same figure is tossing a grenade and a bowling ball. There are grave implications at work. However, the only collision is the bowling ball hitting the pins. The grenades are shown intact on a vivid yellow background--are we safe? The theater of the mind makes this piece so potent.

The work achieves high marks conceptually and aesthetically. It is representational painting with substance, making for a strong and exciting show.

John Zoller United States Color & Learn, through June 29 at Grapa Studio of Art, 773 NE 125th St., North Miami. Hours: Wednesday through Saturday 2:00 pm to 5:30 pm. Call: 305-981-2585 www.grapart.com

L.A. Ivers is an art critic and now reviews art for The Sun Post.

Hand Grenade 2002
acrylic, oil & enamel on canvas
24x30 inches

Hand Grenades panel #1 of 2 2002
acrylic on canvas
24x30 inches

Strike panel 1# 2002
acrylic & oil enamel on canvas
30x40 inches

A Happy Farm Boy In Ohio 2001
acrylic & oil enamel on canvas,
60x72 inches

Little American Girls Dress 3 2002
acrylic & Oil enamel on canvas,
5x5 inches