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Run #01009fr

Chain Reaction - Framed

By: Kenor

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Edition Size 50
SOLD OUT
TYPE:Framed Archival Pigment Print on 310gsm Fine Art Paper
SIZE:13 x 17 Inches
RELEASE DATE:   Oct 18 2016
This RUN come signed, numbered and with a Certificate of Authenticity from Kenor and 1xRUN.
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About this Art

This RUN includes a 1 inch black wood frame with UV-glass, foamcore backing and ready to hang hardware.

"The idea is to paint the accelerations of two bodies. I chose to make two shapes as an initial concept, one on the right and another on the left, and then I started creating from the straight lines. I tried to unite them all to give more velocity to the two initial forms.

With the work from my latest solo exhibition I've merged all the styles that I have developed over the last 10 years: geometry, abstract, deconstruction, dimension and movement. For this concept it has been very important building with points, creating infinite points from a continuous and indefinite succession that defragments the line on the plane into multiple fragments in a single dimension. A song is formed by a set of rhythms. I paint rhythms, deconstruct and construct them, creating a new audio visual piece of work. Transforming each rhythm into my different pictorial language." - Kenor
Kenor
Barcelona, Spain
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"Not many graffiti artists like to paint the streets in the nude. But Kenor is not just any graffiti artist. A self-confessed extraterrestrial, a born performer, Kenor’s organic, kaleidoscopic productions are geometric representations of sound and movement, visual interpretations of music and dance in two-dimensional form. Whilst the production of art must always be understood as a performative act then, Kenor’s images are saturated with this corporeal trace, artefactual remnants of his burning energy. Their multicolored, effervescent hues, their fluid, protean contours, mean we are forced to enter into, to travel into his paintings, to travel within his “abstract architecture”, his architecture “floating in the cosmos”.

Up until 2000, Kenor was focussed on more traditional urban art, obsessed with typography, logos, and textual experimentation. Yet as the Barcelona movement gathered pace, Kenor found himself wrapped up within the changes, forming designs which functioned as “parallel worlds, dreams, hopes, illusions, questions, options and exits”. His urge to transform the city, to counteract the ever encroaching grey with a wealth of colour, has been one which connects these two phases in his career however, an irrepressible urge to “decorate the dead cities”, to make the street a “gallery for everyone”. What thus moves him is the texture of the city, the “boundaries”, the “abandoned, damaged, worn” parts of the street. These sites call him, seduce him, they necessitate repair, resuscitation, reanimation. Kenor has thus become something of a spokesperson (through both his words and images) against the increasing commodification, the greyification of Barcelona, a spokesperson against the new laws which have come to repress so much of the cities previously active street-life. From skateboarding to performance art, break-dancing to busking, street practices have been curtailed whilst the city still attempts to market itself through its liberal, cultural heritage: “They made their own city, and their evolution goes the way they choose, yet it also contaminates the future, keeping marks for another kind of culture in our streets…They want to promote only for their interest. They support for a day the same people they punish to win the sympathy of the young people”.

Despite this, Kenor has continued to produce, to revivify the city, his works increasing to a now monumental size, covering walls all over the world. Yet he has also moved into new realms, not only installatory and sculptural, but a deeper progression into video and performance art. Films such as “Floating Points”, “Dentro de mi”, and in particular "Cualquier lugar, un dia cualquiera", more readily display the connection between dance and inscription, the choreography of the image. Like a living organism, Kenor thus simply wants his work to keep constantly evolving, to “re-create spaces of freedom”, submitting the viewer to “endless options”. Whatever medium he works within then, he wants the recipient of the image to be a “free player”, a player “able to choose and imagine a new dimension that allows it to grow”, one unrestricted by the image, captured by infinite possibilities of the line." - Mapping The City: Kenor Artist Profile

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