What most
struck me about paintings such as Untitled (Red Butterfly)(2002) and others was how Grotjahn had commandeered Newman's totemic and cabbalistic «zips» - those declarative vertical stripes judiciously deployed to rend and reconcile oppositional forces on the
picture plane Old Testament - style - and so handily retro - fitted them with the lollipop palette of Kenneth Noland, the geometrically compartmentalized painterliness of Alfred Jensen and the segmented cartwheeling
compositions of early 1960s Frank Stella.
Yet what we both discovered was the two paintings shared
striking similarities in the terms of how the images and the
compositions were deployed, particularly with the identifiable use of the monumental black triangular, pyramidal, monolithic structures at the center, which undoubtedly referred to the pyramid on the back of the U.S one dollar bill, while the flying images perhaps obliquely evoked Manifest Destiny's Goddess Columbia floating in mid air, the symbol of America — in any case, the two
pictures were covered with smoke and fire.