The framing option for this RUN includes a 1 Inch Black Frame with UV-Glass, and ready to hang hardware.
"I did this piece in September of 2014 using spray paint on canvas and it took me about two months to complete. In this piece I transform electronic music in pictures and deconstruct the form into what you see here. This is my first piece completely circular. Here a new world of possibilities. Leaving the square and rectangular support. The circle has no end. The idea started when I was watching the film by Alfonso Cuarón "Gravity." The idea was to create a lost in the universe without gravity rotating object. It is a piece that when in contact with the viewer begins to turn." - Kenor
This RUN come signed, numbered and with a Certificate of Authenticity from Kenor and 1xRUN.
"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