collage

Snow Collage

  • January 13, 2017
Snow Collage

Snow collage, ash as medium, 40' x 20'. Existed for only a day. (But editioned prints of the work are available; contact info@nu4ya.com for details.)        

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No Hear Hear, No There There

  • October 11, 2016
No Hear Hear, No There There

This work fuses the silver palimpsest series with some of my text series, as well as my linear mandala/DNA spectrogram/sliced collage approach. It's also transtemporal -- there is a complex bas-relief texture of a Victorian petit point motto that reveals beneath the 21st century material. (The reflective quality of which allows the colors in the room, or the viewer, to resolve/dissolve into the piece. It also creates a shifting or unstable optical appearance as one moves around the work, with the different textures or sections luminescing at different angles or time of day.) The text...

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na cha cha

  • September 7, 2016
na cha cha

"na cha cha" 58 x 36", as installed at collector's. This work is a chimera, or a mashup of my aluminum palimpsests and my  rawer oilstick on canvas abstracts. The detailed textured surfaces reveals in different light.

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Turbine Descending A Staircase

  • May 17, 2016
Turbine Descending A Staircase

Decided to do a radical freestanding remix of the sculpture Acceleration Still. Completely spontaneous, no pre-planning and/or fabricating of interior armature, similar to how I approach my outdoor works (ya work with what ya got.) All part of my recombinant painting, sculpture, installation series, where the work is remixable, intermixable, and infinitely unfinished. The original A/S painting (original flat arrangement of the sculpture, and which will never be seen) is 27 x 16', 300 aluminum panels. This iteration actually references the interior content, which is a butterfly wing composed...

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Remixing, sampling, scratching, looping paintings & sculptures

  • February 21, 2016
Remixing, sampling, scratching, looping paintings & sculptures

(Scroll down for many images of remixed, intermixed, disrupted and distributed paintings & sculptures, incl. some text on the origin and ideas-behind, including reviews. Also see Statement) 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  TORONTO STAR Remix Music, Why Not Art?  K.I.A. is about art-making, music-making and idea-spinning,...

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Metacollage

  • December 22, 2013
Metacollage

My very early works were collage, which, after an epiphany sitting in the maelstrom of people and noise in front of Shinjuku station, went linear. (Narrow strips of images stacked and interleaved). It was a way to compress a lot of information into a small space, to add rhythm -- or rather a rhyme scheme (ABABCC, with A being one image, B being another, etc.)   It also allowed glitching of a singular image; shifting a single line left or right, or flipping one line upside down, disrupted the image enough to make any analog construction methods (xacto knife, ruler; later, rows and columns...

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dirty bits n gritty glitch, unshuffle n splice

  • November 6, 2013
dirty bits n gritty glitch, unshuffle n splice

Image: unShuffle, 20 x 26”, oilstick on canvas & aluminum tape, on aluminum, K.I.A. 2013. This whole series has a very complex bas-relief ‘subtext-ure’, which is overlaid with a second, nearly-hidden-but-thematically-related angular pattern created with the mirror tape; third and fourth levels of reference are sanded or etched-on before or after the main spray paint and oilstick layers. So: the painting reveals different information at different angles and in changing light. This is most apparent in “Hear Her, There He” (also the biggest in the series, 84” x 60”), where...

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Glitch Graffiti

  • September 22, 2013
Glitch Graffiti

“NullPunk” mixed media on aluminum 60” x 32” Highly detailed bas-relief texture, paint enlayered with zero-point toroids,  valence bonds, quantum dot arrays, electron envelopes, crystalline grids, atomic shells... and lightning bolts. Didn’t add any firecrackers though. Inspired by a dream where I was to “wave the grid”. (The dream image was of a fractal/organic shape forming over a 3D grid; feeling was that the grid was 20th century, the wave is 21st). © K.I.A.

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Magpie Dragqueen

  • February 25, 2013
Magpie Dragqueen

Fingernail polish and sequins, Swarovski crystals and crayon, foil and shellac and... Kind of a kitchen sink work, purposefully incorporating many materials (graphite, glue, enamel, collage, and...) but the main inspiration was to reclaim a style of mine from some time ago that only recently has surfaced big-time in the general public: in a Louis Vuitton ad in Vanity Fair; on a major art museum catalog cover, which won awards for the design; as a recent Adbusters magazine cover. And at least a couple more times: a book, and a CD cover. (In my ABOUT>BIO section, read the second paragraph...

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Paracarta

  • October 10, 2012
Paracarta

46” x 30” x 60,000” oilstick, stainless steel thread on shaped aluminium K.I.A. 2012 The image is very colorful and detailed, but veiled in steel; only hints & glimpses of it can be seen through organic gapping in the thread pattern. More mapping. Poly-para-multi-tempo-cultural. Ancient Chinese map (the colors; orange gold red blue organic forms); Greek city (purple structures); weathered papyrus (silver shapes); sea-faring (navigation compass lines for the metal bends); Inuit coast-line recognition carvings (darker bands); Polynesian ocean wave-pattern maps (the cursive...

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