palimpsest

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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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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WeeWireWerks

  • April 17, 2014
WeeWireWerks

Various works, acrylic on steel, sizes 6 x 9” - 11 x 14” Not all the art I make is on the main page. The smaller pieces, some photographs,  and many of the ephemeral outdoor works appear this newsblog -- not because they are of less importance (whatever that means) but because they have a different feel to them... micromonumental? So above/below are a few shots of an ongoing series of smaller wound works. Many are on walls in various collector’s homes. (Here's larger works in the series.) (These stemmed from a larger work completed three times : first as a linear abstract;...

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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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kankan

  • August 13, 2013
kankan

“kankan” by K.I.A. Mixed media on aluminum, 20” x 20” A smaller work, supersized later. Lots of new work, new series, not yet posted, bigger. Viewing by request; email. Another small work in the series...:

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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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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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Argent Silk Armor…

  • December 6, 2011
Argent Silk Armor…

"Ardent Silver Armor" by K.I.A., 2011, 84” x 60 x 5”, oilstick on faceted aluminum. Sometimes mentioning the background ideas open up an artwork (reading the T.S. Eliot footnotes help), sometimes it shuts it down (knowing who Damien Hirst cribbed from.) All of my work deals with the idea of multiplicity of meanings... many of which I’m consciously working on, but also a lot that get revealed later... so I’m always hesitant to explain how the rabbit was pulled out of the hat. I’d rather learn the viewer’s ideas and feelings relating to the piece... but, in-person at least,...

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