K.I.A. - Installation & Sculpture (overview)

Click the image or see Menu for more. See also IN PROGRESS for other works, developing projects and concepts. To support the 10,000 sqft public art installation CHROMAMUNITY, click on the Banner above.

Many of the projects are larger works composed of smaller discrete units. This enables: expansive works to be created in more modest settings; a flexiblity of form (the works shaped to the setting, whether permanent or ephemeral ) while still resonating to the core subject matter; the ability of a work to explore multiple concepts; scalability (made bigger or smaller); updating, upkeep, improvement, alteration, evolution by switching out or adding individual units; and easier shipping and installation concerns.

This approach originated from lived experience — initially from having to make large paintings in sections while living in a small apartment in Tokyo — but also an interest in how only a limited number of units like notes, words, pixels, or genes can be combined to create an infinite variety of songs, novels, imagery, and living beings. The infinite from the finite. (CONT’D)

The Window (iteration ex)

Weatherwerks

Chromamunity (see page)

Acceleration, Still

CRISPR SCULPTR

Sculptures

Naturesque

Wall Works

Ground Works

Amorphs

Intercombinants

A lot of my work is made outside the studio, by opportunity or choice, but sometimes necessity. Works have been made in an elevator, on an airplane, in alleyways, basements, on stairs, in subways, bus stations, in forests, on the beach, on rooftops. None underwater yet!. Some settings sanctioned, some stealth.

I’ve schlepped a 30’ canvas secretly up a ladder to a boiling rooftop, and worked on my knees for hours below zero in the middle of a frozen lakebed. My approach is to make art anywhere (carefully planned or spontaneously), and out of anything, (specifically chosen or fortuitously found).

Some of the works produced under these conditions are meant to be permanent, some ephemeral (lasting hours or a finite number of years), and some are in an in-between state, where they are ‘permanent’ but change over time (rearranged, added to, affected by light or weather, human interactions and so on).