A decade in the making, Jeffrey A’Hearn’s, 'Pantheon of the Gods' is a breathtakingly expansive body of work in talent, time, scale, and scope.

Applying incredible artistic ability, a life well lived and *formal education in the classics*, with over a quarter of a century of international travel, Jeffrey has artfully bridged the world of the classical Gods and a miscellany of cultural and racial figures of our modern global village.
*University of Toronto; Major: English and Drama; Minor: Classical Literature and Japanese, Language; diploma in Graphic Design, George Brown College)

Classical male Gods make up this stunning composition of 12 diptychs. The series itself represents the evolution from Athens as the centre of the civilized world, to the modern conflicts present in today’s global village. From young boy, to old man, to the transgender God, Narcissus - a myriad of universal aspects are featured in this house of the Gods; spectrums of the seasons; times of day, weather conditions, geographical locations and human emotions.

Perhaps most obvious about the series is the execution. The diptychs delve into and reflect the 20th century exploration of the two different sides of our brain, affecting our thoughts and motor skills and the psychological struggle within the human psyche, reflected on either side of the face.

The viewer is drawn feelingly into the eyes (alternatively, some paintings entreat one to contemplate at a distance) and a painting within the painting will emerge, providing the viewer with yet further insight into the background behind the myth, or the character of that particular god. A detailed examination of each piece is required to begin to comprehend the amount of research, thought and labour that went into this comprehensive series; one to note in particular: the three diptychs that stack like a ‘totem’ - a style that gives thought to what it means to be a 'Canadian artist'. The totality of which is a worthy exploration of the diverse international issues of this age.

Art representative,
Nora Camps