Kip Bauersfeld
questions of meaning, context, possible narrative, sign, symbol, time and history ...
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Kip Allan Bauersfeld was born in Washington D.C. in 1967. He attended San Diego State University, the University of California, Santa Barbara, and the University of California, Berkeley. Interested in painting as a child, Kip first began working in oils at the age of seven. His first show was held in January 2007, at Kavovarna Galerie, in the famed Lucerna Passage bordering Wenceslas Square in the center of Prague.Kip’s work can be found in private collections in Prague, London, New York, Washington D.C., New Orleans, San Francisco and Los Angles.
He lives and works in Prague.

It is a question of possibilities
My work is similar to that of a map maker who labors, one piece at a time, in the creation of a map with no borders and no explanatory key, in order to understand where he/she is now, where he/she has been and where he/she is going. Unlike conventional maps that define specific places and the spaces between places, the body of my work can be seen as mapping the relativity of “passings” and “becomings” and the endlessly shifting relationship between them.
By “passing”, I mean an incident, something that has happened, that has been seen or felt, something that has drawn attention and caught the eye. No matter what the scale, from the subatomic to the rotations of galaxies, the universe in which we live is in constant motion. To isolate an incident, an event, a feeling, an experience, to remove it from the motion of the world, is likely impossible. My attempts to do so, to extract an incident from the flows and counter flows of life, are destined to failure. What I am left with are fragments, bits of memory, traces of feeling, zeros and ones, marks on paper, hints of what may have happened. Like leaves in the stream, these fragments rise and fall, spin, collide, contradict and compliment, only to disappear over the horizon.
“Becoming” is the possibility of making sense out of these seemingly random flows and counter flows and in so doing freeing ourselves to attain definition beyond that horizon. Even as the ability to know ‘what’ has happened remains elusive, ‘that’ something has happened exudes a certain degree of clarity. It is upon this that I begin to arrange my composition, destination unknown. It is upon this that I rest my eyes.
Questions of meaning, context, possible narrative, sign, symbol, time and history resonate in the relationship between multiples of passing and becoming. Instinctively there is a need for clarity, familiarity and certainty. Yet the closer I come, the more I discover opacity, enigma and elusiveness. Inside the paradox, there is beauty, juxtapositions of the paradox, a tilt this way or that in passing, reveal fragments of the aesthetic. The contradictions are wonderful, there is no center, the center cannot hold.

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