Adjective Used to Describe an Art Work in Which Use Loose Brushstrokes and Diffuse or Obscure Edges
In his first solo exhibit at Fifty.A. Artcore Center for the Arts in little Tokyo January 2018, Kio Griffith'due south body of piece of work is an interdisciplinary brandish of paper collage, sculptures, and a video installation. He was born in Kanagawa, Japan and is based in Los Angeles likewise equally in Japan. Griffith is an independent curator, author and producer. He studied at Otis/ Parson School of Blueprint and has exhibited in the United kingdom, Japan, U.S, Republic of croatia, Belgium, People's republic of china, Federal republic of germany and several other countries. His artistic projects include the cosmos of over 300 hundred music covers designs. Griffith participated in the Aichi Triennale 2016 in Nagoya, Nippon. He also writes for art publications in the U.S. and Nippon. In 2017 Griffith was presented with the Emerging Curators Award by the Los Angeles Gimmicky Exhibitions (LACE).
Griffith's In(Poetry)2dexed was inspired when he and his family discovered a serial of diaries. He realized then the incapacity to read all 50 years of dairies written by his begetter. The cryptic championship of this display of work makes reference to the process of shuffling data to notice pregnant. Since his father'south decease, a decade ago, the quest to make sense of his father's attempt at reinventing himself in a foreign country recorded in his daily periodical entries, became Griffith's betoken of departure for this body of work. The inherited literature would lead to a minimalist however profound interpretation of the physicality of reading and the exteriority of memory as a lived experience shaped by chance and surprise.
Fabric of selection for the collage works is collected newspapers from different countries: cut, layered, and indexed with a steel pipe acting equally a pressing tool that joins approximately the one inch thick paper together. The applied use and versatility of newspaper is a shut up on the everyday exchange of local, regional, and international narratives. Unlike the techniques of dada and cubism of deconstructing, Griffith does the contrary, he is re-contextualizing how information is gathered, assembled and structured to create content, memory and communication. Multiple prints in each of the newspaper sheets crypt together turn into a avalanche of diverse languages, all speaking at once. The residue of this integration for Griffith becomes a question of how to integrate this new language that coincides with random creations of meaning. Impoverished materials are revived with the aesthetic virtues of simplicity and selflessness. At that place is a concern to rescue materials discarded as no longer useful past today's modern society. Discolored and wrinkled this body work is tapped with conversations that extend from the faded edges. In one of his Algorithm's a random prototype of Chinese dissident artist Ai Weiwei is captured dropping an ancient urn to the ground. Another Algorithm titled, One Billion Dollar Diplomatic mission 2007, contains words similar chance and pick. Algorithm: Frequency Retrofit/White 2017 seems to be suggesting the shoring up of structures with frequencies tuned to whiteness. There is an invitation to effigy out what to make sense of, what remains and what leaves us, a la Wittgenstein with titles that tin can be associated with absurdity, politics and identity.
His salvaged volume sculpture series, the visceral affect of sculpting is re-associated by space that occupies the sculpture. For Griffith, the modern masters of modernity work of art entail the act of much reading. In An American Tragedy 2017, a paperback with tape sculpture is structured as a literal argument with the cover's original title equally an instant message. Unlike the masters, it is a sculpture that embodies today's post mod era of text messaging without the trunk of literature in the book as its vertebra. The instant text-like charge of the championship carries a deep political reflection of today's means of advice and current political circumstances in American politics. The original titles with minimal words nonetheless are strong and assuming enough to stand on their own. It is a sculpture series that preserves some of its originality that accompanies the process of re-inventing while pushing the viscosity of the message in ones management. Offshore Drilling Engineering science, 2017 is one of Griffith'southward high viscosity book cover and record sculpture that drills correct into the core of ecology concerns.
Several incised orange book covers in the exhibition have been converted into open pockets. The openings seem to be gashing out for air assuasive life to precede its venture into this new born cavity. It is a susurro! (A Spanish word that means a deep breath of air that almost oftentimes expresses what words cannot).
The video installation titled Algorithm Counter is a visual monochrome composition that spins like a casino slot machine; it is driven by chance and random. It is a rotation that involves the timing of letters engaged with by and present to re-associate new subconscious possibilities. It is the piece of work of shuffling new combinations of letters that challenge fixed ways of knowing that Griffith brings to light: conservative social and political values that infringe on the process of creativity. He describes, "If yous go besides conservative you lose the opportunity of taking chances." He farther elaborates, "Conservatism to be the antithesis for creativity." In this video letters rotate and cease simultaneously to birth and register significant as marking and forming.
Griffith'south multidisciplinary arroyo gathers all his art disciplines; music, installations, performances, video and traditional methods of creating that emphasize the human spiritual frequencies that help readjust our relationships amongst one some other. They are playful and welcoming. He squeezes the juice out of letters and meaning, pressing together multiple languages to coincide with random interpretations layered over existing social and political concerns of the artist. Griffith questions the buying of words and pregnant with chance as his interceptor. The reviving that follows this series is his effort to jump start hope in the era of texting.
The newspaper collages are sealed to retain the imbedded memory within the body of linguistic communication and the tactile feeling that is missing today. Griffith attempts to notch out established comfort and conservative values as a way to rekindle new approaches to life and means of being. Every human is a series of multiple volumes of unread literature saturated with information that often goes untouched and unread. For Griffith, "The act of reading is an open window to an emotional reaction."
He rescues history by re-sculpting the procedure of words and literature past depositing layers of ideas that act equally sediment that upon excavation tin be an archeological treasure. This exhibit brings for Griffith the opportunity to pay tribute to his father and the teachings of chance that coincided with selflessness and creativity. It is an exhibition that opposes the hegemony of assembling one-dimensional thinking.
Jimmy Centeno
February 28, 2017
jimmycntno@gmail.com
Photos Past Bryan Ida @bryanida
Source: https://laartcore.org/era
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