Kahlil Irving

2020

3rd Place recipient

The work investigates everything from formalism to conceptualism coinciding within sculpture and installation. There is a correlation shaped between historical examples of labor and creativity that have formed the basis of my work ethic. Using micro and macro aspects of the street to construct unique directions to give the viewer a new experience when dealing with history and diversity. I believe in the linked dualities of materials and emotions simultaneously existing as static, dynamic, heavy, light, political, anarchic, old and new. The intention in my practice is to break the cultural rules that have been developed by colonialism. My aim is to navigate and challenge those constructs through materials, their form and performance.

Trained as a sculptor and historian my work is evolving from a small-scale studio production of mixed media sculpture to large-scale projects that are in and outside the gallery. As ceramic sculpture can be produced and withstand certain scales I am working on balancing the need of using other materials that can reach new heights and depths to really engage as broadly as I need.

I use a variety of materials and digital technologies to combine historical references to objects that have been made for certain needs and desires with contemporary issues gathered from mass/social media sources. I use kitsch molds from the 1950-80’s to create a lineage of historical objects to postwar accessibility and privilege that now lives in thrift stores to an extent but are one way of see the evolution of imperial order on trade in a hyper modern and late capitalist society. What is present and seen in the built world made from these materials is really important to what is made visible and invisible in my work. I walk through how to engage industrially produced porcelain objects and bricks made for contemporary housing. This collapsing of time and place is really an important layer in the dimensionality of how the experience of what I am doing takes up space. With these layers I am working to bring the past to the fore through complex layers of form and fiction.

  • Seven Pack – Memorial edition, August 2014 (RIP)

    Seven Pack – Memorial edition, August 2014 (RIP) 15" x 14" x 12" 2017

    Glazed and unglazed ceramics, luster, decals. Installed in first NYC solo exhibition.

  • Memorial Mass (Life lottery)

    Memorial Mass (Life lottery) 9" x 18.5" x 10" 2017

    A part of first NYC solo exhibition.

  • BLACK and Blue: (RIP – NEW LAYERS – No Charges for Wilson or Europe)

    BLACK and Blue: (RIP – NEW LAYERS – No Charges for Wilson or Europe) 9" x 18.5" x 10" 2017

    A part of first NYC solo exhibition.

  • CITY - COUNTY

    CITY - COUNTY 14.5” x 15” x 14.5” 2017

    Glazed and unglazed ceramics, luster, decals.

  • Compacted Grit & Glamour; Tubes, Planes, and FoilKI123

    Compacted Grit & Glamour; Tubes, Planes, and FoilKI123 15" x 10.5" x 7" 2018

    Exhibited in Iceland, 1st in sculpture competition. In the Yeck 21st century collection at Miami University.

  • Street Cans & Coils: Memorial Pack - ALH 2011 |

    Street Cans & Coils: Memorial Pack - ALH 2011 | 14" 13.5" x 9.5" 2018

    Exhibited at Wesleyan University. Exhibited at Mattew Marks Gallery. Apart of Glenn Ligon Collection.

  • Titled Mass: Crushed Floral vessel (circa: some century) Enjoy Heaven

    Titled Mass: Crushed Floral vessel (circa: some century) Enjoy Heaven 13.5" x 8" x 8" 2018

    Exhibited at Wesleyan University in a solo exhibit.

  • Rows / Columns: Daily NEWS of DAILY LAW and LIFE - (text vase)

    Rows / Columns: Daily NEWS of DAILY LAW and LIFE - (text vase) 11" x 23" x 11" 2018

    Exhibited at Wesleyan University. Currently on view at the Rubin Center at University of Texas at El Paso.

  • Shattered & Sheets (NEWS: Text of Privilege – Convict the Oppressors) Gilded time and constructs

    Shattered & Sheets (NEWS: Text of Privilege – Convict the Oppressors) Gilded time and constructs 20" x 28" x 17" 2018

    Exhibited at Art Basel Miami beach.

  • 100's

    100's 15 x 20 x 10 1/2 inches 2018

    Collection of the Whitney Museum of American Art.