Grand Theft Photo (Appropriation, OK!)
in photography, The Window, prints
The Geometries of Taylor Swifties (THE WINDOW by K.I.A. pt 45)
TL; DR: Taylor Swift Dance Party participants, in polygons (PRINTS HERE & BY REQUEST)
I hear shrieks outside. It’s early evening, spring. Shouts, cries, and loud exclamations in big cities are alarming… but in rare cases, like this, they are joyous — the sounds from down below The Window are emanating from a flock of Swifties, in line for a Taylor Swift Dance Party. They are laughing loudly, and eager to shake it (off).
According to statistics, there are about a shibillion Swift fans worldwide. Here are a few of them — sequinned, blue-jeaned, braided, cowboy’d, lumberjacked — free-range, in their various geometries:
SEE THE REST OF THE PHOTOS AND SUBSCRIBE TO SUBSTACK click> HERE
IMAGES:
heXXagram
acute triangle
90,100, 60, 120 degrees of swifties
quadrilateral non-parallelogram with purses
biPhonic right angle
15 degrees ensequinned
theoretical investigations on geometrical structures of swiftie clusters
Geometries and glyphs of fans and fame, and the infinite mystery and magic of celebrity — Taylor’s a symbol, or sigil, for positivity, that’s why the lineup.
I go downstairs and join it.
love vector
I shriek a little (but joyously).
The Window w/ Swifties Geometries
NOTES:
-“Siri, Siri, in my hand, who is the famous-est in the land?”
“Taylor Swift, Of Course, is the famous-est in the land. There were 10,751,000 searches for her on Google this month, twice as many as the next famous-est, Ronaldo.”
- in the pic w/the pink cowboy hats, if you could “enhance enhance enhance” (as they do in movies) the girl’s iPhone image on the right, you’d see me leaning out the topmost window, 25’ above, taking photos. The only person to actually notice my actions was the girl who gave me the peace sign.
-The Window (all images in the photo series 24/7/365. from the one window) is mostly about interconnections across single images over a span of time. This post is one of the few showing multiple photos of a single moment (others were of a shooting, and a fire; while How Far the Man and UHaul Psalm were multiples of a single subject, but across a span of time.)
-the panoramic photo shows a few people in the lumberjack phase
-re: Google AI debacle, I queried it to generate images of a Swiftie & it made this:
-apparently the next Taylor Swift album “The Tortured Poets Department” comes out April 19 2024. So I asked Chatgpt to write a tortured haiku using Swift song titles, and it gave me this: Endgame without you / Haunted by blank space, lost love / Teardrops on my guitar
The Girl. The Vampire. The Murder. The End. (The Window photo series pt 46)
TL; DR: serendipitous scenes for imagined movies (The Window pt 46)
An animé character escapes from her simplistic cartoon into the real world to see a rainbow, fall in love, have sex, fart, and sword fight, not necessarily in that order, before she gets rewritten.
After a simple pitch goes horribly wrong, the surviving salesmen begin to suspect that one of them faked their Six Sigma sales-course certificate.
MORE — SEE THE REST OF THE IMAGES FOR THE BELOW AT K.I.A. SUBSTACK HERE: LINK
An influencer unwittingly records a murder in the window behind her and has to outsmart the criminals, the cops, the CIA, and social media to stay alive and get a brand sponsorship…
The motorbike. The heist. The woman. The betrayal. The chase. The roadblock. The discussion about Plato’s cave, simulation theory, and whether AI-generated virtual realities should be pre-decolonized by large language models rewriting user requests. The shootout. The end….
With a murder about to occur in the fishnet industry, six undercover policemen — one Black, one Indigenous, one white, one South Asian, four Women, two LGBTQ2SIA+, one Questioning, one and a half Deaf, and two from Quebec, one of them a curve model and the other Muslim — investigate.
Time-tourists travel back from the far future in their Chronobago only to find they are tiny in size compared to 21st century humans, and are also parked illegally. After their argument with the traffic cop goes viral on WorldStarHipHop, they must evade competing oligarchs muscling them to start a podcast, do a terrarium residency in Vegas, use their tiny hands in artisanal cobalt mines, and/or tell them how much Bitcoin is going to be worth in two years, not necessarily in that order, all before their impounded temporal recreational vehicle is sold off at a police auction, stranding them hundreds of years from home.
LL Cool J’s elite NSA vampire SEAL team secretly reunites to stop a shadowy cabal of NWO WEF scientists from using AI to hijack the CERN collider in order to flatten the Earth into a 15 minute city, but first they must trace some NFTs back to ISIS, battle UN undeads, avoid NASA NPCs, and race to stay ahead of international sunrises.*
An unemployed and depressed android comes to Earth to find work at Chick-fil-A, win at Chemin de Fer, and take up capoeira — oh, and stop the apocalypse with his rabo de arraia.
A man lives with no account of Time; no Arts; no Letters; no Society; and which is worst of all, continuall feare, and danger of violent death; And the life of man, solitary, poore, nasty, brutish, and short,** necessarily in that order.
The angel Raguel comes to Earth to decide The End and sees that things are pretty good actually compared to every other era ever, so flies back to heaven.
NOTES:
-*Rotten Tomatoes review by RoyalWee2 for Vampires VS: IV — 🍅 “Good, but not spectacular enough, nor intimate enough, to really impress us. We get fatigued (although it is LL’s most relatable performance since episode 133 of NCIS: Hawai’i)”
-** from Thomas Hobbes' book Leviathan, 1651 (not coming soon to a theatre near you)
-for the international readers, the equation for Chronobago is: Time + Winnebago
-”Chemin de Fer” is a form of the gambling game baccarat, which is also known as punto banco; coincidently, all three have been used as nom de queere on Rupaul’s Drag Race; two by contestants, and one by a judge (Punto Banco.) “Rabo de arraia” is a capoeira kick, inverted and over the head, like a stingray’s strike. It was not used as a pseudonym on Drag Race. (It was used in “Pose” season 3 for a side character).
-good news: because the film has been pre-decolonized, the Academy has awarded the “Untitled Fishnet Crime” movie a 2025 Oscar
-”The chase. The desert. The shack. The girl. The roadblock. The end.” is the famous tagline on the original movie poster for the 1971 film Vanishing Point
-The angel. The descent. The judgement. The end.
-as always, all the photos are of real people caught in candid moments as they walk by The Window, (with no photoshopping, just color adjustments), and are the art, with the words (these words) always subordinate — especially when they are humorous. or "humorous”. (See the “How Far the Man” post for something more serious. Or “serious”.)
-the inspiration for this post came after seeing the above be-suited business guys walking just like:
Bonus image: (pinch up to magnify the billing block easter eggs):
The end.
happiness like motion!
TL; DR: bodies, rest & motion (The Window photos project by K.I.A. Part. 44)
golden shoes:
“Lie back…” says the meditation instructor. “Feel the weight of gravity on your shoulders…your spine… your legs. Take a long slow breath.” I do. “Become stillness.” I don’t. I mean, how could you — the planet* is spinning like an enormously torqued merry-go-round, trying to fling us off at 1000 miles per hour! The Earth is also racing around the sun at 67,000 mph, like a desperate-to-win interplanetary NASCAR driver on the final lap. Not only that:
night rider
Our solar system is careening around the centre of the galaxy like a meth-snorting dirt biker loop-de-looping inside a metal sphere at the county fair at 492,126 mph. Our galaxy is spinning like an overclocked whirling dervish at 600,000 mph, and oh, by the way also hurtling outwards at 372 mph. (Oops, wait, that’s per-second. It’s actually 1,300,000 mph**).
incredible lightness of wheelieing
And OMG, even space itself moves — the entire universe is expanding like a (well, like a universe expanding so insanely they measure it per million light years) at 357,000 miles per hour/mly………
SEE/READ THE REST HERE: LINK
PRINTS OF THE WINDOW AT THE STORE / inquire HERE: LINK
in praise of fails: Weatherworks - land art installations by K.I.A.
TL; DR: 30-foot art done-30° (“The Window” winterlude)
On Horizons
The newly frozen bay, somewhat snow white, sounds out as it warps — ringing, and singing, like an ice siren, alarm and allure. I jump, stomp, and kick down while walking onto this winter canvas. I’m holding a broom sideways — if I fall through, maybe it’ll save me. Should I be wearing a life jacket?
F1: Cities in Dust
Every December I make enormous weatherworks. The process is physically demanding — a duel, a sport, a dance — due to the difficult conditions (which are different every year). This art is always in cooperation with acquiescent to nature; i.e. this year, for the first time in ten, there is no ice. So “going-with-the-no-floe”, I shifted my colordrifts and glyphs to nearby snowy fields and frozen flora. But because the art is not at the time-honoured site, and I can only work at a much smaller size… all attempts are fails. (F1-F4):
F2: Color…Elide
Every December I make enormous weatherworks. The process is physically demanding — a duel, a sport, a dance — due to the difficult conditions (which are different every year). This art is always in cooperation with acquiescent to nature; i.e. this year, for the first time…
READ THE REST OF THE POST & SUBSCRIBE TO THE K.I.A. substack HERE
ne're attives (The Window by K.I.A. pt 17)
in photography
The Doomsday Clock has now been moved to 90 seconds to midnight, and as a result many cities have begun holding exercises to train for emergencies like nuclear war. Above, a group of crisis actors practice for such an event. The run-through took place over 8 hours. They were paid minimum wage for the night. They had a lunch break at 2 a.m. Non-gluten meals were not an option. This photo was taken at 2:15 in the morning.
These men are having an argument. It started out as a discussion, but escalated. It didn't come to blows, but there was some pushing. They were talking about fashion, and whether the correct term to describe one man’s wardrobe (on the left, nearest to the wall) was half-shirt, crop top, or midriffer. No one had heard of, nor liked, the last term, which had been proffered by the man furthest on the right. Shoves ensued. At some point the neologist had to leave the sartorial melee by peeling out on his motorbike….
READ & SEE MORE PHOTOS FROM “THE WINDOW” — SUBSCRIBE AT K.I.A’s substack HERE: LINK
Themed sets of images from “The Window”:
Be My Woman Be My Man (queer, gay, transgender, LGBTQ+ song)
BE MY WOMAN BE MY MAN by Shinjuku Zulu
HEAR: on APPLE, YOUTUBE
The soul is non-binary. Over lifetimes we have lives a both men, women and on the spectrum. “Be My Woman Be My Man” is about the yin-yang of sexuality and gender.
All master/synch rights owned 100% by Kirby Ian Andersen. Contact to license for tv or film productions.
ON ALBUMS:
- Various Chimeras
CREDITS:
Lyrics: Kirby Ian Andersen
Music: Kirby Ian Andersen
Performed by: K.I.A.
GENRE: dance / night club / party
VOCALS: male
THEME: positive songs about non-binary, transgender, LGBTQ+ music, pride month, trans, gay, dance
HEAR IT ON:
Apple
Spotify
Amazon
Tidal
Lyrics:
Be my woman, be my man
All master and synchronization rights to K.I.A. and Shinjuku Zulu songs are 100% owned by Kirby Andersen. To license K.I.A. or Shinjuku Zulu songs for film, tv or commercial productions, contact info[at]nu4ya[dot]com, with “song licensing” in the subject field.
Ultimulticulti
Caribana, asolkwin, tengu geta, karakou, zebra rocka, boba fett…
See all images in the post here: LINK
The Window: a portrait in a thousand parts
Below is a view of The Window art project installed as networked photographs, showing the connections across the images, subjects and themes (diversity, time, technology, velocity, beauty, movement, dance, Tarot, entanglement… etc).
“The Window”, institutional installation view of themes branching and massing from linear spine (proposed)
The Window is a 24/7/365/1 photo project capturing life in the 21st century city. (See more of the images and ideas-behind: HERE). Above is just one of its many infinite arrangements.
Much of the art by K.I.A. is one larger work composed of smaller elements, allowing iterative presentations. Here’s an installation whose content changes according to setting and arrangement; here’s a painting whose 30 individual paintings are to be decentralized; here’s a recombinant sculpture composed from many discrete parts, and here’s an intercombinant wall installation (this same approach later arrived at by El-Anatsui).
Disco Balls & Apple Blossoms (seen, soon gone)
Bits: of light, of flowers, of snow, of fire…
Inquire to acquire the set…(4 signed archival prints)
More from the Window: blog below, or Menu on the site
NOTES & LINKS:
petals pink blossom,
bright disco ball reflection,
snow. home. so soon gone
• The man amongst the petals often collects cans in the early Sunday hours. He climbs into the garbage dumpster looking for bottles from the nightclub. The club is decommissioning the mirror balls because the building is being demolished for condos. (The same building from which all these photos have been taken. The same building where we have lived for twenty years. Soon soon gone).
• Petals in flowers, reflected squares in a pattern of light, notes in a song, words in a haiku — making discrete units coalesce into a (poetic) gestalt is an ongoing approach in my work - The Window is one work comprised of many many images. Have a look at the large recombinant sculptures , the infinitely ephemeral “CRISPR” installation, the decentralized paintings , and the earlier remixable panel hybrid painting-sculptural-installations
• For more info about The Window photo project, contact: info@nu4ya.com
Example grouping of selected images from The Window
Example large arrangement of images from the crosswalk view from The Window
Battle (Ballet), from "The Window" by K.I.A.
Sidewalk soloists to internal symphonies… duo pas seul
Two people months apart, spontaneously doing the same gestures and movements as they dance…
All images in The Window are candid happenstance; the 24/7/365/1 project is about interconnections across the images.
More posts re: THE WINDOW (a 24/7/365/1 photo series):
Verticality
History Rhymes
Possible Pareidolia
Here Come the Future
Gravity/ Antigravity
Verticality (The Window Photos Pt. 9)
TL; DR: A photo poem, from zero to 1,261,161,417 feet.
An ‘ascending arrangement’ of some images selected from the meta-metropolis-mega-photo project The Window (LINK).
Earth to heaven (via influencers and window washers), and also some synchronicity — after thinking of connecting images vertically, by happenstance I came across the poem “High Windows” by Philip Larkin. The title, imagery, and the themes resonate somewhat. Here’s the last stanza from it (& all of it at bottom):
“Rather than words comes the thought of high windows:
The sun-comprehending glass,
And beyond it, the deep blue air, that shows
Nothing, and is nowhere, and is endless.”
So rather than words:
NOTES:
• Besides verticality, other possible future sub-groupings of shots from The Window are: gravity, velocity, vanity, precarity, ethnicity, hilarity, historicity, U-haulicity…
• I heart “the sun-comprehending glass”. The window’s job is to let light pass through
• More posts from the Window (all ephemeral moments captured from one SUBSTACK location, pls. subscribe):
Possible Pareidolia
Here Come the Future
What’s the Story?
• K.I.A. website feat. recombinant sculptures, snow collages, gen mod paintings +
• HIGH WINDOWS by Phillip Larkin:
When I see a couple of kids
And guess he’s fucking her and she’s
Taking pills or wearing a diaphragm,
I know this is paradise
Everyone old has dreamed of all their lives—
Bonds and gestures pushed to one side
Like an outdated combine harvester,
And everyone young going down the long slide
To happiness, endlessly. I wonder if
Anyone looked at me, forty years back,
And thought, That’ll be the life;
No God any more, or sweating in the dark
About hell and that, or having to hide
What you think of the priest. He
And his lot will all go down the long slide
Like free bloody birds. And immediately
Rather than words comes the thought of high windows:
The sun-comprehending glass,
And beyond it, the deep blue air, that shows
Nothing, and is nowhere, and is endless.
K.I.A. A.R.T. SUBATCK is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.
Possible Pareidolia
TL; DR: A pairing of enigmatic images of couples from The Window project, third one at bottom.
Pairings, juxtapositions and patterns. Across the time span of The Window series (LINK), context emerges which generates (accretes?) considerations beyond each individual image.
Two photos taken months apart, at different times of day, of different situations, when juxtaposed within the context of an exhbition (virtual or institutional), suddenly obtain more layers of meaning.
For example in the project there is a photo of a woman in high heels and fur at 11 p.m., arms outstretched, smiling and posing for a photo as she leans back against a stretch limo. Months later I captured an image of a woman at 6 a.m crammed into a kid’s bike trailer, immobile (sleeping, sick, dead?), as her partner cycled from dumpster to dumpster looking for bottles.
Placed side by side, each image becomes a tuning fork that resonates to the other.
Another example: separate shots over months of 3 different groups of 3 women crossing the street together. Each group is ethnically homogenous and of the same age within their triplet, but when the photos are placed sequentially you notice that each group’s pattern of walking is significantly different — one group is close, almost shoulder to shoulder, arms and legs in synch; the next group somewhat matching in stride and arm movements, but a little farther apart from each other; and the last group of three is dispersed and with no physical cohesion of motion. Is it culture, age, season, setting, time of day, or happenstance that causes this phenomena?
One of the images by itself is just a word, but the three together are a poem.
The Window by K.I.A. - Memoirs of a Wandering Bishop
Every photo in “The Window” is a film.
The Window (LINK) is a project I’ve been working on for the last year, 24/7/365. An archive of the times, across all hours of the day, days of the week, weeks in the year.
All the photographs are taken from one location, capturing, from a narrow field of view, a panorama of a bustling and diverse modern metropolis — there are weddings, shootings, robots, cam girls, Lamborghinis, horses, babies, lightning, protests, a pandemic, and a war… There are confrontations, kisses, calamities and kindness. People climbing into limousines and into dumpsters. People picking up cigarettes, people picking up poop, people picking up people (romantically, in Ubers, and literally, off the pavement).
The Window - People Set of 12
CA$2,500.00
Like CCTV cams, drone footage, or crane shots, the photos are all taken from above, a fair distance from the subjects. This echoes the social distancing experienced over the pandemic, six-feet apart in-person and thousands of miles apart via virtual meetings. (The images are not to be emotionally distanced though — the point of each photograph was to imagine, with great empathy, what the story was for each “hero” in the frame, which also informed the aesthetic look). The photos also resonate with the state of surveillance we all now live in, the Camopticon, or the Panoptiphone, cameras everywhere, smartphones in every hand, recording and tracking everything, overtly and covertly.
What is a private moment in this milieu? Is there such a thing? Is privacy now simply being oblivious to observation? If so, then sleeping has to be the ultimate state of unawareness. It’s something one usually does privately, but here it was in a public setting, the man sleeping mid-day on the stairs.
Because of the self-imposed parameters of the photographic project (images of the street taken from a window above) there is no interaction with the subjects. They are unaware of the camera, and so are not performing in anyway. People in the wild. (Me, an urban Jane Goodall). Because I wanted natural behaviour, I made a point of never calling out to anyone below — though sometimes it was very tempting to ask them to walk by again because I’d missed a great photo — or even waving to them in the rare times they looked directly at the camera. The truth is in the unstaged, unguarded moment.
For the above image though, I broke the rules. I first noticed the man because of his funky hat and rolly suitcase, so I photographed him as he walked around. He’d pause and walk, pause and walk. He peed behind a dumpster, then stood in the side alley for a very long time, just looking at the street. Finally he went to the stairs, laid down his head, and fell asleep. It was now twilight. An hour or so later I looked out the window again. He was gone, but his luggage was still there. Half an hour later, it was still there. I was now worried for him. Those frequent pauses. So I went down to retrieve the rolly before someone took it. the rolly before someone took it.
All his ID — passport, healthcard, etc — was in the bag, so I tried to track him down via social media by his name, and a little sentence on a notepad he’d written, “Memoirs of a Wandering Bishop”. I sent messages to what may have been him and a relative. No response.
I kept looking out the window to see if he’d returned. By midnight I gave up. The next day I called the police; they said to turn the luggage in at the precinct. They’d keep it for 90 days and if it wasn’t claimed, burn it. There was a tag on his luggage, so I called the airline, explained the situation and left my number. About an hour later I got a call from across the country — his mother. She said he’d arrived in the city after a very long journey from the US by bus, and couldn’t get on the flight she’d booked him, and that he’d been exhausted. She’d managed to book him a hotel room early that morning.
I called the hotel and told him I had his luggage and where to come to get it. He’d come the next day. He didn’t have a phone, so I had to watch out for him. The next morning, about 20 minutes after the arranged time, I saw him on the sidewalk in front of a nearby restaurant, motionless. People were moving around him. He wasn’t looking around for an address. He just seemed… on pause.
Eventually he unfroze and came close enough so that I could shout to him and wave to him to wait. I brought his luggage down. I asked him about how he’d forgotten his bags. He said he was really tired after the long bus trip and was kinda just out of it.
He was soft spoken, and very grateful that someone had saved his luggage and ID. I told him to pass it along. He said he had been, for a long while, and that this was the first time someone had done it for him.
I asked him how he was going to get the rest of the way across the country since he couldn’t take a plane or train. Buses didn’t have routes that way anymore. I said maybe he could get a ride with a trucker. He’d been a trucker once, so that’s what he was going to try. I said there were people looking out for him, his family, even strangers like me.
We shook hands and I watched him go. He paused for awhile before turning the corner. I wasn’t sure if he knew how to get back to his hotel, about a 30 minute walk away. Or if he’d be able to get back to his family, who was thousands of miles away. Or if he’d be able to get back to, furthest away of all, himself.
The Window: Poetic Sets
Themed groups of images from The Window: Velocity, Dance, Motion, Walking, Woman, Men, Trans, Night, Smokers, Selfies, Technology, Diversity, Equity, Beauty, History, Weddings, Dogs, Verticals, Time, U-Hauls…
Ediitoned signed archival prints: https://www.nu4ya.com/store?category=02+The+Window
Faberge Leaves
New. (Ongoing series). Mixed media. 14 x 10”. Optially shifting sculpture-painting by K.I.A. (Inquire about the work: HERE )
Night view left, day view right.
"Found" dance performances, from "The Window" series by K.I.A.
It’s all a dance — we just don’t always hear the music. Here’s some “found” solo and group performances from The Window caught over the last two years (preview of the Substack page, see the full post & subscribe HERE
“Honor your partner / Oh promenade / Get all stirred up / Like lemonade…” - Box the Gnat
“We pull and we push push/ Gimme some of that crush crush / Don’t do it, don’t blush blush / Badness is good stuff” - Make Me Shake (Gimme Some Crush Crush)
“Massive ballerina, on the dark stage / Pirouettes for millennia, starred arms out / Awaiting a hero / Only to embrace endless night, and absolute zero.” - Massive Ballerina
FOR THE REST OF THE POST, SUBSCRIBE TO K.I.A. A.R.T. SUBSTACK HERE
The Window by K.I.A.: Every Photo a Film
New section, or themed grouping, in the ginormous 24/7/365/1 photo project The Window by K.I.A.: Section 10 - Vignettes. These images hit at a bigger story happening beyond the borders of the photo — a shooting, a protest, a wedding, a riot, Drake, and Taylor Swift (ies)... (Many — most — of the images in the project are portraits showing the diversity, velocity, hilarity, vanity, complexity, eccentricity (etc) of the modern city in the 21st century. SEE VIGNETTES HERE. (Individual and compilation images available as signed editioned prints.)
earthwork art installation by K.I.A.
Every year for the last decade I’ve done large outdoor art installations (earthworks, or “weatherworks”) on a frozen lake. Here’s the 2023 edition. (See some earlier ones at my Substack HERE. Editioned prints available: contact.).
They are usually done in very cold weather (-20). They take anywhere from 10-25 hours to make and document. They usually last for about 30 minutes after completion—I work as long a I can in the daylight hours until the sun starts to set before I have to photograph them. They never last overnight because snow, wind, rain, etc destroys them.
Except this time.
It didin’t snow overnight, and the weather warmed up the next day, melting the snow, which allowed the colors to mix together, and the textures I’d created to morph. The work went from matte to gloss, and some parts showed became translucent, adding visual depth. This was perfect, because chance, change, and ephemerality are major themes in my work.
I photograph the work in ways that obscure scale and perspective. The images could be taken from a sattelite over Jupiter, a drone over a coral system, a closeup of moss in some exotic rainforest, an electron microscope examining microorganisms.
The works are physically arduous — squatting, leaning, extending, but also frozen fingers and numb fingers. But it puts you in tune with the environment, because you have to watch the clouds coming in, pay attention to the light, feel the direction and strength of the wind, place your feet right on the ice. This year the ice was really noisy, weird and very loud warping sounds (like a whale call? or giant steel rubber band?) that would sound out, and at least a couple times let to audible and visible cracks.
morse-code forest, general stealth and argent armor
“e dot tree dot” by K.I.A. , is 84” x 60”
-black/gold/silver oilstick on scratched and scored aluminum.
Whenever I see a birch forest, the patterns of white and black feel like an encoded message being sent by the earth. So I took a poem by e.e. cummings “when by now and tree by leaf”, translated it into the dots and dashes of Morse code, and overlayed and image of a birch forest with it. I then translated key nouns from the poem (i.e. “snow”) into secretarial shorthand symbols for the cursive part of the painting.
The lines that make up the drawing are more than just decorative or structural -- they are themselves information. (The broader implication: behind everything we see there is a higher, or at least different, order of reality.) They are palimpsests — information layered on information.
General Stealth Car River 84 x 60”, oilstick on aluminum by K.I.A.
Tom Thomson x Emily Carr ÷ General Idea x Agnes Martin = genetically modified Canadian art. 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.
Argent Silk Armor 84 x 60 x 5"” oilstick on faceted aluminum
A palimpsest— layers of textile shapes from Japan, Africa, Victorian era Europe, and a North American Indigenous breastplate, overlayed. The bends in the aluminum are the folds used on a kimono for storing.
