ICUL CTION C o n t e m p o r a r y
A r t
KC Tidemand
R e v i e w
Winter 2016
mylar and plexi. Mostly drawing and painting on these surfaces, layering and playing with ways of installing them in spaces. I wanted to physically move bodies in the room, force an interaction and make the viewer an active part of the pieces. I think New York City made me more aware of the relationship architecture and the human body have to one another. The constant power play between a hard and imposing building against a soft and small being. The forced route that one takes to avoid crowds, buildings and traffic. And of course, the natural sense of acceleration that NYC embeds in its subjects. All of these very physical yet invisible powers fascinated me, and also disturbed me. It all started seeping into my work. My final year at SVA, was one of constant reading and making. I was enthralled by philosophers like Gilles Deleuze and Felix Guattari, by the thought of nomadic structures and counter cultures. The idea of breaking away from the structures that limit the individual by encouraging a state of play and disruption of rules. I started making inflatable rooms, both walls that grew and bubbles you had to zip yourself into. Always starting with a question: what would it be like if walls were soft, if rooms were round, if I could see you, but you could not see me? What happens when our assumptions of space changes? You are a versatile artist your experimental practice encapsulates several techniques, ranging from installations and sculptures to
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