When one thinks of earthwork art, the first thing that comes to mind would be: soil, rocks, branches or other tangible earth materials but the greater part of my focus is on the invisible/unseen forces that shape and mold all things. My paintings are made in above and below freezing, high and low altitude and I must become more sensitive to things outside myself. This is a physical investigation of our planet using paint as my translator and mediator with nature and I learn about paint and nature simultaneously. I take my rightful place and follow nature's lead.
Possibly more accurate, would be to refer to this as Atmospheric or Eco-System Art; which, reveals the intriguing dynamic between matter and "non-matter". These paintings are made in above and below freezing, high and low altitude to become more sensitive to things around me. Therefore, I must strike a balance between the inner and outer self and include concepts of the actual, with realism and abstraction. By mixing paints and catalysts, I set my Speed Element paints into motion to mimic the push-pull forces and create microscopic as well as satellite views of the earth and places scattered throughout the universe. These paintings are “abstracts waiting to be called realistic, when technology “catches up”.
The elements help me in creating an illusion of the elements.
The desire to search for an alternate palette stems from the good fortune to have conceptual
artist ROBERT MORRIS as a mentor during
his brief artist-in-residence stay at San Diego State in 1979. Though only 21, exposure to Mr. Morris and his "idea
art" have had a lifetime effect
on how I observe the world and therefore, how I approach and create art.
Amongst many of ideas that Mr. Morris told me, one stood out most: Robert did
an ARTS-IN-PUBLIC-PLACES project in an Atlanta park where he took a few sticks
of dynamite and stuck them in the ground and setting them off. He then
put up a sign that read “ONE,ONE MILLIONTH OF A MEGATON BLAST".
It was my 3rd year of college and 10th year as a painter. In high school
I was able to take three periods a day of painting. Within that first
decade I tried as many different styles and refusing to settle on one. I
was young and knew that something would find me. Of course, this great
encounter with Robert Morris set off a chain of mental and physical events that has me feel that I have only scratched the surface in using my Speed Element palette over the last thirty years.
It didn't take long for me to realize natural influences on a palette that is not completely dependent on me to move; and, in fact, could speak to me about nature; seducing me like a siren's song while Ralph Waldo Emerson joins in a duet. Now, it is 2010, and I am celebrating my 30th year of creating paintings through my Speed Element palette. For the past 20 years or more, I have been guided by a book where I was able to exchange the word nature for the word paint, to create the most influential "art book" greatest "art" book that surprisingly assisted; alone and the 150th anniversary of Ralph Waldo Emerson's book- "THE CONDUCT OF LIFE" and at least my 20th year of underlining each reading in various colors. This happens to also be the 30th anniversary of my use of my paints, eventually called- Speed Elements". So it seems the time is right to at least get the abridged version of the gallery booklet out there. Using my art and observations, I am creating a gallery booklet that will include some of the inspirational writings Emerson's that have influenced me for over 20 years; entitled: "THE CONDUCT OF PAINT".
"Nature has her own best mode for doing each thing and has told us plainly over time;
and if we decide to choose our own ways as opposed to natures',
nature will not be slow in undeceiving us. "
- RALPH WALDO EMERSON -
KC-K at Bash Bish Falls, N.Y. for MANNAHATTAN PROJECT, (above left)
The flag above, on the right is one of three "ENVIRONMENTAL FLAG",
shaped by the wind off the East River, Bklyn, NY 2007
ART-IN-PUBLIC-PLACES, D.U.M.B.O. JULY/AUGUST 2007
"What does not have the power to create life has the power to redistribute in space and time."
- EMERSON -
(The right and left photos are from the East Village roof garden studio and center pic from Bushkill River Critters & Video)
to capture images that eluded capture by the canvas.
* As a painting comes to rest it would be more accurate to call them "painteds"
and it is the video that becomes the "painting".
Eventually, I felt that videos was not enough to offer the viewer and began to paint for an audience in 1998
to create "reactive improvisations" with avant garde and classical composers in the contemporary world of music.
Speed Element paints are set in motion and projected live; along with pre-recorded video of
past paint experiments and nature on her own.
GaiaTECH I - "WHERE PAINT, NATURE AND MUSIC MEET"
A COMPILATION VIDEO OF TIME RELEASED PERFORMANCES
MATT SULLIVAN, music director, composer, musician
FirstAVEnue, electro-acoustic trio and guests...
including Todd Reynolds on electro-acousic violin
CLICK ON THIS LINK BELOW TO SEE THE COMPILATION VIDEO OF TIME RELEASED PERFORMANCES:
>>> www.youtube.com/kencroken <<<
THIS PAINTING BELOW IS A LIVE SHOT TAKEN AT ONE OF THE MOST RECENT PERFORMANCES
"MULTIPLE ONENESS" with Matt Sullivan, electro-acoustic oboe
Downtown St. Petersburg, Florida March 19, 2010
STUDIO @ 620
Cape Cod, Photo Series and Videos, (Pleasant Bay) KC-K Aug. 2009
(THIS SCENE IS AN EXCERPT FROM THE UP COMING VIDEO GaiaTECH II)
I say that depends on where and when it is made.
Painted in the dead of winter in NY could be a couple of weeks at least
and in the middle of summer in Death Valley could be a couple of hours at most.
RECENT EVENTS:
MANNAHATTA PROJECT
A NATURAL HISTORY OF NEW YORK CITY
(MANNAHATTA- ISLAND OF MANY HILLS)
Celebrating the 400th Anniversary of Henry Hudson's exploration
of what became the New York Tri-State Area.
by Dr. Eric Sanderson
ERIC W. SANDERSON is the Associate Director for Landscape Ecology and Geographic Analysis in the Living Landscape Program of the Wildlife Conservation Society at the Bronx Zoo. He is an expert in the application of geographic principles and techniques to problems in wildlife, landscape, and ecological conservation, and has published numerous articles on the subject. He lives in New York City.
KICK OFF FOR ALL OF THIS WAS:
EARTH DAY 2010 - JUNE 25, 2010
THESE PERFORMANCES & POWER POINT PRESENTATIONS INCLUDED:
Dr, Eric Sanderson (author of Mannahatta), Ken Cro-Ken (earthwork artist),
Christopher Kaufman (composer of "Hudson Valley Quintet"
AND QUINTET OF THE AMERICAS:
Barbara Oldham (horn), Matt Sullivan (oboe, english horn),
Sato Moughalian (flute, piccolo), Nicholas Gallas (clarinet), Maureen Strenge (bassoon)
Click on the link below for an interview with the author of "Mannahatta", Dr. Carl Sanderson:
http://www.youtube.com/watch?v=cKNEu_8t65s&feature=PlayList&p=4F1B8A52EE69B3F6&playnext_from=PL&playnext=1&index=54
MUSEUM OF THE CITY OF NEW YORK
(LINK BELOW:)
http://www.mcny.org/exhibitions/past/mannahatta-manhattan-a-natural-history-of-new-york-city.html
For Up Coming KC-K video & photo contributions to the
QUINTET OF AMERICA side of this incredible project,
please go to CURRENT/RECENT EVENTS TAB (TOP OF PAGE).
If you would like to see more of my art,
please click this link below:
http://www.kencroken.com/KC-K_PAINTING_GALLERY.html
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