By mixing paint and catalysts I recreate the push-pull forces
found in nature that shape and mold all things,
to create satellite views of this planet and places
scattered throughout the universe.
These are abstracts waiting to be called realistic, when technology "catches up".
KEN CRO-KENEARTHWORK PAINTER / VIDEOGRAPHER
Eventually I was led to leave "art of the mind" Saudia Arabia 2003 "Shoreline", 48" x 36" 2005 An active Speed Element paint experiment is set into motion producing many paint formations and images that elude capture by the canvas, but not the video camera. It would be more accurate to call a painting that comes to rest a "painted" and the video, the "painting".
"SEA AND LAND", 3" diameter, 2001
This is a physical investigation of our planet and paint.
our proximity to the sun, the ratio of materials,
the rotation, angle to the sun, the inclusion of the moon...
Whether an "intelligent hand" was involved or not
the earth we see today was formed by incredible variables.
The same is true for each "Speed Element" paint experiment.
A change in weather, thickness of paints, altitude, season, location...
can completely change what we see.
I don't have to leave home to be an earthwork artist.
wet or dry day, will affect the visual outcome
of a Speed Element painting.
Very different visual results will occur if painted in:
Death Valley in the summer, Alaska in the winter,
Tahiti after a rainstorm; in the sunlight and shadow of
The Metropolitan Museum in New York...
Simply put, I manipulate space, time and matter...
...the matter in this case is paint.
I feel a need to strike a balance between my inner and outer self,
as these activated paints force me to
be more sensitive to things outside myself.
If I lose this equilibrium I can become an intruder
to my own painting and potentially scar a paint experiment.
Active paint is set into motion forcing reactive improvisations
as I take my rightful place as "part of",
and not the "center of the universe".
This is a physical investigation of paint and nature simultaneously and concerns itself most with seeing the actual.
(This photo and video was taken during a sleet section
I attempt to predict paint formations, images and situations
in advance of their actual appearance
by observing the literal and the actual, over all other things.
Our existence now depends upon this way of thinking.
"Angel and Demon" 30" x 40", 2006
Black and Yellow World (Close Up) 30" x 24"
as if through worm holes
that peer into our vast and mysterious universe.
Jupiter Moons, in true color, January 1, 2005
“The second mode in early Abstract Expressionism, in addition to the primal sign,
is an interest in the dynamic and creative process of nature.
Metaphors for or the suggestion of the birth of the world,
or the creation of order out of chaos, are evident…
But however connected to the natural environment,
the physical evolution of nature was always tied to
the psychological evolution of humanity.”
- Claude Cernuschi -
"JACKSON POLLOCK, Meaning and Significance", 2005
I never had to abandon painting to be an environmental artist.
Now, nearly thirty years of working with this active palette.
and create a more direct relationship with the actual world
to reveal information that can be found no other way.
The elements help me to create an illusion of the elements.
"St. Patrick's Weekend Snow Painting 2007" 48" x48"
Freeze Drying Paint section.
For Solo Exhibit Collisions2007
SOLO EXHIBIT, COLLISIONS JUNE 9TH - JULY, 2007 N.Y., N.Y.
"Two Rivers" 48" x 36", 2003
Simply put, I manipulate space, time and matter...
...in this case the "matter" is paint.
Questions, comments or studio visit,
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Then click here to see pics still.
http://kencroken.com/PAINTING_GALLERY.html
