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Jon Thompson, The Toronto Cycle #19 Cadence and Discord (HM) Traer los Sentidos, 2011, oil on canvas, 68 7/8 x 59".

Jon Thompson

Anthony Reynolds Gallery

Jon Thompson, The Toronto Cycle #19 Cadence and Discord (HM) Traer los Sentidos, 2011, oil on canvas, 68 7/8 x 59".

Apart from being a noted educator, curator, and writer, Jon Thompson has also been an amateur Gouldologist: His latest paintings, like those in his previous exhibition at Anthony Reynolds Gallery in 2009, take their inspiration from the great Canadian pianist Glenn Gould, whom Thompson has clearly been reading and listening to attentively; this entire ongoing series, “The Toronto Cycle,” begun in 2008, takes its name from Gould’s hometown. The new paintings have a rectilinear structure with a division down the middle and bands of color running across each half; a sliver of white forms an edge all around the canvas, reinforcing the image. The overall effect is to divide each painting into two columns of colored bands, establishing a sense of both verticality and horizontality. This is a deliberate nod toward Maurice Merleau-Ponty’s dialectic between the vertical Being and the

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