WK Interact 2.5
New York street life
WK often admits his fascination with human fear and describes extracting the positive out of a violent act like saluting the beautiful form of a javelineer just as the spear leaves his hand. Violence is after all engrained in human nature and his subjects are all flesh. He more than dabbles in an admirable investigation of the mechanical evolution of the human being since the industrial revolution and through the years of prog-ress since. WK acknowledges the effects this relatively recent era has had on the social and sexual behavior of human kind. The mug shots of methodic criminals feature often in the show pieces, mostly escapees and wanted men. This criminal flight is exactly another form symbolic of perpetual motion and fear of being caught and contained. This becomes a conceptual representation the criminals journey off the surface of the work or to incarceration. Ironically, WK is now referred to by numerous publi-cations as a politically charged artist, two words he had shirked association with over the years. The Soldier-story became a turning point at least for him accepting a more blatant approach to political issues. This deliberate representation, he deemed necessary to reach a seemingly dormant public in order to draw awareness to a human crisis. He refers to it as a campaign, not art, not work but a campaign fueled by his conscience as a fellow man."
introduction by: Alex Grant
Rome Italy, Drago
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 S. : überw. Ill.