Scroll down for many images over time of my remixed, intermixed, disrupted and distributed paintings & large scale sculptures, incl. some early text and links to the origin and ideas-behind, including reviews. Also see Statement. This post is, itself, a bit of a collage / mashup.
UPDATED occasionaly with ongoing works; scroll down to go to earlier works…
2020, spliced panting, CRISPR series, 36 x 30″, acrylic on paper:
2019, Installation, spliced remixed paintings (96×72″):
2014-ongoing, Remixed spliced paintings, various sizes, 2014-ongoing:
2017 CRISPR SCULPTR (done Banff Centre), recombinant installation, 2 of infinite versions, 25x20x12′. More HERE
1996-2008, intermixed paintings on aluminum panels; here’s a link to the first in this series, the red painting, Masaimatical done in 1996:
2009, ACCELERATION STILL remixable sculpture, more HERE
GLOBE & MAIL
K.I.A.’s latest work, Acceleration/Still is a giant, wasp’s-nest-shaped painting/sculpture combo that references butterfly wings, fuselages and airplane blueprints, via over 300 painted panels. As the weeks progress, the object will grow, change shape and re-combine
Remix Music, Why Not Art?
K.I.A. is about art-making, music-making and idea-spinning, and those points where the all three inclinations intersect.
A master at aural collage
“K.I.A. began using panels while living in Tokyo where his small apartment necessitated painting his huge works one panel at a time. Now they serve a different purpose: the panels can be rearranged by the artist or owner of the work, just as each performer interprets a piece of music.”
Like contemporary music, K.I.A.’s paintings can be remixed. Starting from a base image—for example, an African shield composed of math formulae— the artist, over the course of his recent solo show, rearranged the aluminum panels that comprise the huge works to create new and unforeseen paintings.
Canadian Collagist Unfazed by Change
“Systems & Synthesis” is the title of a new collage exhibition by Canadian artist K.I.A. (Kirby Ian Andersen.) Via the collage medium Andersen strives to sort through the disorientated jumble of data from an increasingly information-based society
72 x 52″. Acryllic on canvas. En plein air nature collage…
The idea of the remix has long been integral to my work, from my early linear collages to intermixed and interleaved paintings to more recent huge recombinant sculpture paintings. For more info see this archive post on early remixable works, and also my BIO, which also shows a pictorial timeline of the evolution of the idea from its origin (being broke and using magazines, manga & newspapers to make work; then having to make large paintings in smaller bits because of my tiny Tokyo apartment size, which led to the idea of dj ‘scratching’ the paintings… rotating the smaller component panels, flipping sections, moving rows, etc for my first exhibition), to continued explorations up until today, spoken of in terms of sampling, looping, mashups… but also as genetically modified objects (visual genomes spliced) and analog ‘digital’ components that allow paintings to be disrupted and distributed (non-centralized)… — See the expansion of these last ideas at the Projects page HERE (email for password.)
Anyway, in light of the Mashup exhibition at the Vancouver Art Gallery, I thought I’d do a quick post a variety of images of my work, some of which can be found around the new site, from collages through remixes and mashups of paintings and sculptures… (i.e. iterations of works Here ; origins of Here . Hell, there’s even a speed collage/visual pun mashup vidoe for the song “Shanghai Masai” HERE.)
1989, first large scale works on wooden panels (Tokyo):
1992: Remixed watercolors (Los Angeles):
1987, the first strip/remix collages, Tokyo:
1996, works on paper, 60″ x 60
1996: From a proposed exhibition
; various iterations of the 11 x 5′ (35 panel) work Masaimatical:
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