GLIMPSES: Aesthetically, nothing is here by chance. Each of Grieve’s 23 *objects attempt to create a glimpse of that pure actuality that takes place outside of language. Some of this is done in a very painterly fashion. For instance, in the painting Küchenlicht (2021) does not feature any overt intellectual puns or conceptual elements.  Instead, he uses Johann Wolfgang von Goethe’s Zür Farbenlehre (1810) to show the mystery in the everyday domestic setting of drying pots and pans.  What is important, however, is not the representation but the attempt. Each piece is like a Zen Buddhist koan, a paradoxical anecdote or riddle that demonstrates the inadequacy of logical reasoning and provokes a “great doubt,” which leads toward insight into how the world is put together. Take for example, The Three Jewels (2019), a mixed media piece that contrasts and compares Buddhism’s Three Jewels (Triratna) with the common Housefly (musca domestica). Not just conceptually, but aesthetically,  Each *object displays extensive use of allusions, and other references, which creates a feeling of disconnection. Each piece tilts (purzelbäume) the topic and composes an image that often seems on the surface to be totally unrelated. Each chunk visual puns, and conveys multiple, often complementary, or contradictory meanings, which link the object in an underlying sustained string (शक्ति) based on hidden points of connection and continuity.