non-linear time

Genetically Modified Bouquet

  • August 29, 2019
Genetically Modified Bouquet

This work is a hybrid of photography, painting, sculpture, collage, digital construction and ikebana. It’s a genetically modified bouquet, a handmade jpeg of a flower arrangement… Time is also spliced in this work, the 19th and 21st centuries. A camera-less photographic technique from 1842 (which uses the sun expose the image) is used along with digital and biotech strategies to create the image. Discrete visual genes from within the work, along with pictorial DNA from separately created works, are spliced together to create something new. Though the work arrives at a fixed state after...

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IOTA, Art collector, K.I.A.

  • March 6, 2019
IOTA, Art collector, K.I.A.

IOTA is a distributed painting. It is a single large artwork to exist in many different locations in 30 parts. It is a decentralized painting. Each individual work (24 x 18") exists as a standalone piece, but is connected to all others via horizontal, vertical, non-linear and color elements. Each piece however, is uniquely folded (its creases like a fingerprint), utterly unique within the collective. When a single section is on the wall, one knows it is connected  something much bigger than one sees, connected globally to others across countries, cultures, class, religions, time. (Metaphor!) The...

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CRISPR SCULPTR

  • November 6, 2017
CRISPR SCULPTR

This work consists of large paintings distributed (into a sculpture (that is a recombinant installation (that is a function))). Stage one (all the images below) is done; later stages are to be created in site-specific locations nationally and globally over the next few years and added to the work, the installation accreting to an enormous size. This work expresses the ephemeral, the ineffable, and the infinite. VORTEX 35' dia. Its multivalent presentation modes [SEE IMAGES BELOW] enables it to explore many ideas. The sculpture is a mutable metaphor,  a hackable technology, a language...

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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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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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Divination Inclination

  • December 5, 2015
Divination Inclination

56” x 36” x 3000 nuts & bolts (Left: front view Right: back view oilstick on aluminium K.I.A. 2012 This work, which came to me fully-formed while sleeping, encapsulates my ongoing themes: it uses proletarian materials in an unusual way; it contains imagery from many eras and cultures; it has layers of veiled information; it changes -- shadows or pinpoints of light or details get revealed as you move around the work. (Even the back. Especially the back. Everyone peeks around the back.) It was also insanely labour intensive, involving hand-screwing 3000 nuts and bolts. They...

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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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General Stealth, Car River, Micro Redux

  • July 11, 2013
General Stealth, Car River, Micro Redux

General Stealth, Car River II 48” x 32”, oilstick on aluminum Tom Thomson x Emily Carr ÷ General Idea x Agnes Martin = genetically modified Canadian art. A smaller commission of the larger (84” x 60”) GSCR version. Taking the forests of Thomson and splicing them with organic shapes of Carr over the t.v. bands of General Idea, and beneath the minimalist lines of Martin. There is a horizontal, as well as a vertical, tracking of light as the aluminum reflects with movement and illumination, contrasting the velvety matte of the oilstick. © K.I.A. Kirby Ian Andersen

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Hyperpalimpsest

  • November 12, 2012

40” x 36” mixed media on canvas C-prints of above on metallic paper available K.I.A. 2012 Ultraviolet light allows a palimpsest to be understood: under religious text from the 10th century lies a scraped-off mathematical treatise from the 3rd century BC. Equations layered with devotions. (The Archimedes Palimpsest.) Accretion. Infrared shows the original underdrawings of Old Master paintings, some of which are significantly different from the finished work -- figures dropped, images mirrored. Evolution. Rauchenberg created a new work by erasing a de Kooning. Negation. An...

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