Bridget Griggs | Infinity Infinities

Canadian artist Bridget Griggs began her career in performance art and modelling. It was here that Griggs first began her introspective exploration of her own emotional depths. Today, her search continues albeit with the maturity and tirelessness of an artist and mother in her work, Infinity Infinities.

The Beginning of Infinity

The series is sexually suggestive in the extreme. Shells enclose what develops within. Fertile ground for the seeds of the universe. This is Griggs' representation of the slow infinity, the infinite series of numbers between zero and one. A chasm into which the viewer can fall and remain falling. Griggs' now moves backwards in time with a series of vaginal paintings. Each painting grows in complexity. The walls or lips change in colour as they expand and contract revealing a cellular structure. This series within Infinity Infinities serves to show the development of the idea. It is the mind of Griggs herself, waiting and eager for the seed of ideas. A mind pulsing with creativity that Griggs can plant and pick from in her paintings.

The Infinite Infinity

The fruit of these ideas comes with the final paintings of Infinity Infinities. These are the emergence, the birth, of the female form. Griggs’ paints a Creation myth of the human species whilst also creating a work that comments on the modern emergence of woman from the ocean of white noise that has surrounded her. With raised arms, the figure casts the miasmic cloud away as she extends her influence outwards before disappearing into the cosmos and restarting the cycle once again. This is Grigg’s representation and celebration of that most infinite infinity, the real numbers. It is fitting that it is the real numbers, the numbers of real life that are expressed in the final paintings of Griggs’ series, Infinity Infinities.

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Words | Rob Woodgate