Il fantastico decadente Barocco visionario di Kris Kuksi

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Hollywood non mancherà di saccheggiare il suo universo decadente apocalittico-archeologico-visionario alla Boch in cui si aggirano giganti,creature di ogni tipo,Lillipuziane,Dei di ogni genere,angeli e bambini.
Un bestiario che si fonde nella macchina e macchine di guerra cavalcate da chiese,un delirio visionario,Surrealista,Barocco degno dei piu grandi maestri della Storia dell'Arte,vere e proprie dettagliatissime scenografie pronte a rivivere sul grande schermo.
Costruzioni che sembrano uscite dall'immaginazione delle fiere Universali del XIX secolo,una tecnica esecutiva degna del virtuosismo del Canova e infine un assemblaggio inverosimile che ai nostri occhi appare incredibilmente reale e nella sostanza lo è (purtroppo).
Ammiriamolo con lo stupore e la meraviglia di cui siamo capaci e speriamo anche che la sua monumentalistica prenda il posto in certe "piazze" di quel mostruoso elogio della guerra che sono molti monumenti ai caduti della "Grande guerra"!
Se vi passa per la mente che possa in qualche modo essersi ispirato "alla lontana" ovvio, alla tradizione del Presepe Barocco Napoletano non credo che vi sbagliate di molto.
...in definitiva il suo futuro "remoto", religioso-barocco ci porta piu nei pressi di Blade Runner che di un banale San Gennaro!
Se voi affiora in voi l'idea che si faccia beffe dello "scontro di civiltà" e che ci annunci un nuovo Medioevo oscurantista votato al Pensiero Magico...ebbene anche qui non sbagliate di molto;buona visione dunque.

(Above) Saravati Destroyer
72” w 33” h x 12” d
Mixed Media Assemblage
2009



(Above) Saravati Destroyer (detail)



(Above) Saravati Destroyer (detail)



(Above) Saravati Destroyer (detail)



(Above) Plague Parade: Opus 1
38” h x 13” w 29” d
Mixed Media Assemblage



(Above) Churchtank Type 6.6F with Mine Rollers
Mixed Media



(Above) Churchtank Type One
Mixed Media, 11” x 5” x 11”, 2003


(Above) Caravan Assault Apparatus
Mixed Media Assemblage, 39” x 28”, 2008



(Above) Afterworld Transporter
Mixed Media Assemblage, 26” x 12”, 2008




BORN MARCH 2, 1973 IN SPRINGFIELD, MISSOURI AND GROWING UP IN NEIGHBORING KANSAS, Kris spent his youth in rural seclusion and isolation along with a blue-collar, working mother, two much-older brothers and an absent father. Open country, sparse trees, and alcoholic stepfather, perhaps paved the way for an individual saturated in imagination and introversion. His fascination with the unusual lent to his macabre art later in life. The grotesque to him, as it seemed, was beautiful.

Reaching adulthood his art blossomed and created a breakthrough of personal freedom from the negative environment experienced during his youth. He soon discovered his distaste for the typical American life and pop culture, feeling that he has always belonged to the ‘Old World’. Yet, Kris’ work is about a new wilderness, refined and elevated, visualized as a cultivation emerging from the corrupt and demoralized fall of modern-day society. A place where new beginnings, new wars, new philosophies, and new endings exist. In personal reflection, he feels that in the world today much of mankind is oftentimes frivolous and fragile, being driven primarily by greed and materialism. He hopes that his art exposes the fallacies of Man, unveiling a new level of awareness to the viewer.

ACCIDENTAL MYSTERIES interviewed Kris about his art, digging into the psyche of this incredible artist whose art is entirely relevant for these troubled days.

AM: Hey Kris! From the moment I saw your work, I knew I was looking at a special artist—one that you see oh, once every hundred years or so. I am serious. You’re more than an artist and I want to know more about you.

So, let me ask: do you have any kind of formal art education after high school?

KK: Yes, I did, from a small mid-western college in Hays, Kansas called Fort Hays State University. It was not a major art school but from what I came out of from high school, I was at least lucky enough to go to college. The program wasn’t strict by any means so I just grew at my own pace, and I probably would have wound up the same had I been on an island in the Pacific.

AM: OK, I’d like to follow with this basic philosophical question: do you believe in any higher power in the universe, or do you feel that mankind is simply a brilliant but failed organism heading to his eventual and ultimate destruction?

KK: Ha! That is a very good question and I’d have to say that I really have a lot of doubt that man will follow through in saving the planet and himself from peril. I’m not so sure about a higher power. Maybe it is just a situation where humans need to come up with the idea that something has to be greater than them to help explain things. I just wonder if humans are smart enough to let reason rule and give up religious fanaticism and political differences. I suppose we might go down in history as the dinosaurs did and, eventually, be engulfed by the next ice age or cataclysmic event even if we did find a way to save the ecology and balance of the planet.

AM: I get from your work the collision of good and evil, the trappings of war, lost technologies, monuments to lost causes and failed leaders—all rendered in excruciatingly three-dimensional detail. Tell me more about this, please?

KK: To continue with what you have already noted, I believe time becomes blended together as history consistently repeats itself. Countries rise and fall, wars are fought and won or lost, human behavior lives through emotions and passion over and over again. One thing humans can do is to learn from history, however, from what I see in what humans are doing today, is that they are more focused on their current state of the moment and seek answers through their emotional reactions rather than logic and knowledge as example from the past. There are very few visionaries that are leading us to a point of transformation. And so the story goes, the rise and fall of hero’s and nations and religions, etc., etc.

AM: It looks as if you embed found objects in your pieces and yet other parts appear to be individually sculpted? What is your sculpting material?

KK: Just like what you said, mostly found objects but nearly everything is manipulated in some way. A thick filler sort of paste is use to add more form that isn’t provided in an object and is also used to help blend in gaps between forms.

AM: Tell me, what sorts of things do you collect apart from what you use in your work?

KK: I’m not really a fanatical collector for the sake of collecting. But I do randomly collect odd things such as a bird fetuses, old wooden legs, art books, music, movies and art from a few fellow artist friends.

AM: Bird fetuses? Old wooden legs? Gee… that’s boring—everybody collects those. (Just kidding!) Finally, who— or what inspires you, Kris?

KK: The Baroque, classical art, Art Nouveau, Bosch, Giger, design, symmetry, space travel, war, nature, architecture, death, life, passion, love, hate, emotions, and peace.

AM: Kris, thanks so much for taking the time to let us know more about you and your art. I’m a huge fan. Good luck with everything.