kirby andersen

Protected: Public Art explorations K.I.A. (contact for password)

  • July 6, 2020
Protected: Public Art explorations K.I.A. (contact for password)

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Chromavirus

  • May 2, 2020
Chromavirus

Some big color for these dark times.  Chromavirus III, 16 x 14" Acrylic on archival paper on wood. This is continuing the CRISPR series of paintings. Future iterations of the below being significantly scaled up (72" +).           Like the work? You can show your support it here: paypal.me/KIAart

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Works on Paper

  • April 1, 2020
Works on Paper

WORKS ON PAPER (survey) Oilstick or acrylic on archival paper.  Signed verso.  "Flat" works first. Spliced/stacked works at bottom. Various sizes, as noted (or inquire). Larger works at bottom.  Sold ones are noted. (Shipped unframed, inquire for pricing). WORD WORKS: Oilstick on archival paper.  9 x12". "LOOT"   Text as rainstorm; ongoing iterations, as part of  365 unit "book"   Text / Wordworks:   METATROPOLIS SERIES: 24 x 18", acrylic on paper.  (More in the series than shown). ABOVE: 3 iterations. ABOVE:...

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Crystalline Machine Hurricane Rain

  • February 16, 2020
Crystalline Machine Hurricane Rain

This work came from a dream where it was raining words. As each drop hit your skin you felt its meaning. A storm was Shakespearean, a shower haikus. A hurricane the library of Alexandria, lived in a deluge. All the works in the series -- hybrids of painting, drawing, collage, installation and sculpture -- have very complex bas-relief forms (architectonic, crystalline, and organic) with linear and smeared color on reflective surfaces  that optically shift with the changing light of day (or season, or room), and flatten and expand in depth due to the angle of viewing.  Each painting or on-the-wall...

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Chromasnowma

  • January 15, 2020
Chromasnowma

Weatherwork, 2020. Continuing the series, now full spectrum. These works each took about 8 hours to do. More images to be added. (Earlier works in the yearly series, monochromatic ash/snow collages, HERE.  Large-scale indoor iterations developing. Contact for site-specific commissions. Prints of the various earthworks over the years, etc. by request.   Example of past (monochromatic) seasons: ash cyanotypes, more HERE: snow collages, more HERE: And earlier, glitching snow:   Like the work? You can show your support it here: paypal.me/KIAart

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In A Myriad of Ages It Will Not Be Exhausted

  • August 6, 2019
In A Myriad of Ages It Will Not Be Exhausted

If from a stick a foot long you every day take the half of it, in a myriad of ages it will not be exhausted. -Mohist School of Names (China, 479 BCE) The work is continuously destroyed This painting is cut in half every ten years. Each division makes it a new artwork, and starts the clock on its next destruction. The original state becomes unknown,  as the smaller and smaller pieces are placed in new positions.  All future states are also unknown, existing as probabilities, potentials, or impossibilities. Now or never Each painting can only be seen in each physical ‘now’ of the viewer, ...

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No There There (going away away)

  • June 11, 2019
No There There (going away away)

This work has been acquired by a collector in L.A. (Fitting, as its title "No There There, No Hear Hear" is a play on words referencing Gertrude Stein's famous comment upon seeing her old neighborhood, Oakland, also in California). The work is a palimpsest, with layers and layers of shifting text, texture, information, color, and meaning. Images and video below, to show context and optical shifts. 84 x 60", oilstick on aluminium tape and vinyl on aluminium.  

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Installation as Tsunami (CRISPR SCULPTR v.XI)

  • April 21, 2019
Installation as Tsunami (CRISPR SCULPTR v.XI)

Artwork as tsunami, ice age, desert dunes, mud slide, rising sea level. Art as anthropocene. Sculptures submerged by an encroaching installation (an iteration of CRISPR SCULPTR installation done Banff Centre).  The installation moves, over weeks, through a group exhibition or institutional collection, around and through other works, inexorable. This iteration only exists in relation to other works. It frames, enhances, barricades other work. Artwork as migration. Seen in terms of migration, the work creates treaties, negotiations, agreement, communication,  compromises, solutions re: borders,...

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Infecting installation, spliced cyanotypes & dangerous sculptures

  • April 2, 2019
Infecting installation, spliced cyanotypes & dangerous sculptures

A long, skinny painting that connects all the art in the space like a neural network. An installation that infects  the exhibition, its colorful component parts migrating over time through and around the other works, framing, enhancing, colonizing, barricading them. A massive wall painting to be decentralized over time, its 30 parts moving out globally, to flow back for exhibition every 10 years, a murmuration that builds narratives and networks over decades. A dangerous painting. An even more dangerous sculpture. A series of resequenced and genetically modified paintings. Works made with...

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Collage

  • March 22, 2019
Collage

For the record, a survey of my early collages, and their evolution till today. The paper ones were made and exhibited in Tokyo, LA, Toronto. The series (style) began in 1987. The concept came fully-formed in a daydream while sitting at Shinjuku station: slice images to strip them to their core information, and then interleave the images to compress them into dense meanings. It also enabled works using disparate material and juxtapostions of ideas to visually cohere. I have always described these as having a visual rhyme scheme, A/B/A/B/C/C.   Poetry, music, and DNA. Most carefully composed,...

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