I am hard at work preparing for my solo show 'Kim-Lee Kho: A Full Heart' at Cedar Ridge Creative Centre March 9–21, 2019. The opening reception will be Sunday, March 10, 1–4pm.
All the prints are made, including the two large new ones (scroll down for a sneak peek of one of them), which I can't wait to see up and share with everyone who's able to visit!
The gallery at Cedar Ridge comprises three main rooms in a historic mansion owned and run by the City of Toronto. There is dark wood trim and features everywhere, a big old fireplace, high ceilings (around 12ft), and baseboards that are at least a foot tall. Full of character, this is a very different kind of space than any I've shown in before.
Because the rooms are full of complications like multiple doorways, built-in bookcases, areas of windows and a big fireplace; and because this is my biggest solo show ever, where I'll be presenting up to 40 pieces/objects, a scale model was absolutely essential to help me plan.
My favourite and always-generous helper Kal Honey put it together for me then helped me plan and curate the show.
Following a site visit when we check and tested a number of aspects, particularly related to hanging methods and details about the space, there will be some adjustments made to our plan. That's why the final number of works isn't quite settled.
I'm continue to work on a sculpture that I hope to include in the show, (working with chicken wire so my hands are getting rather scratched despite mostly wearing gloves), and there are still so many details to look after!
If you can join us for the opening this Sunday, or visit the show anytime through Thursday March 21, I'd be delighted! Hope you can make it!
Please share any questions or comments below.
Cedar Ridge Creative Centre
225 Confederation Drive
Toronto, ON M1G 1B2
It’s always nice to hear that someone saw my work and both liked it enough and was in a position to purchase it so they could take it home.
“Untitled (Layered Trees)” is one of two artworks sold recently at the Take 2 exhibition at Neilson Park Creative Centre, which has its closing reception this Sunday, 2–4pm. Click here for more details. (On a sidenote, the reception is also an early-bird opportunity to register in-person for spring courses!)
This photo-based mixed media piece is 8” x 8”, on a wood panel, and layers a mounted photo-digital print under an image transfer from a piece of film that I spent considerable time altering by hand before applying.
Trees are a recurring motif in my work now that began to appear regularly once I started my anatomical hearts body of work, because the tree branches are so beautifully analogous to the branching behaviour of veins and arteries. As so often happens, our inner world reflects the outer one, because branching behaviour is a fundamental design structure in nature; it's one that I have become enchanted by.
I am drawn to the relationship between branches but also to the complexity, which reflects what I experience so often in my own mind and out in the world as I navigate a profusion of sensory inputs and relational ones as well. Complexity can become overwhelming, which some artists (eg Julie Mehretu) communicate (and create) very well.
It's interesting then that for this piece I chose to concentrate on editing the complexity, leaving only small touches of it in deliberate places.
Well that’s all very nice, but none of what I said really addresses the slightly tongue-in-cheek headline I gave this post!
That headline is rooted in my realization this year that it sometimes isn't clear that my work is almost always available for sale. Some of the more unusual formats might require a little adaptation or customization for a new, permanent home, but most of my work transfers quite easily.
It’s also true that sometimes when I’ve made a lot of new work for a show or event (like a festival) I’ve worked so hard right up until the installation that I haven't had a chance to work out pricing in time for the opening. So that can be another issue, but it’s only a temporary one :-)
I’ve had enough people ask that I thought I should clear that up!
Since I have a couple of solo shows coming up this year – March 9–21 at Cedar Ridge Creative Centre’s gallery (where I will have three rooms in their historic mansion) and in November at The Red Head Gallery in the wonderful 401 Richmond creative arts hub in downtown Toronto – I will be making more new work. My plans include a couple of large pieces but some small and medium as well, including (if my idea works out) some multiples for the Red Head show. Multiples, like print editions, are more affordable forms of artwork than a one-offs like a painting.
I’ll definitely be showing sneak peeks and works-in-progress on my social media channels, so keep your eye out there! Especially Instagram where you'll find me at @kimleekho.
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Have you ever bought original artwork (includes editions or multiples), or do you have a collection? If so, what inspired/inspires you to make the purchase and take it home (or office, or give to someone)? Was it a feeling, was there a sense of recognition, or something else?
I'd love to hear your thoughts in the comments below.
Instead of writing more in this second blog post about my installation at the In Situ 2018 festival, (to see part one click here), I will speak to you via the video below, shot and edited by my charming colleague photographer/videographer Nettie Seip, to whom I owe many thanks!
You'll see me on-site in the room during the early stages of installation as I talk about the work and my intentions for it. Then you get to tour through it at night with it fully installed while the festival was in progress.
Please take a look and let me know what you think!
Perhaps after the holidays I will put together some time-lapse video shot over the three nights I spent drawing the Hearts in Place mural in front of the festival audience. I will upload it to my YouTube channel – please click on the link and if you like it, consider subscribing :-)
Video shot and edited by Nettie Seip, www.nettiephotography.com
OK Go is a band that does extraordinarily creative, innovative and powerful visual music videos like no one else – they are art forms in and of themselves. They pull off incredible feats without relying on the magic of digital effects, what you see always happened in real life and in real time.
Seriously, you need to check these videos out, no matter what your musical preferences are, those won't matter at all. Here are some I recommend (titles are links):
What these videos show is that these guys are masters at finding ideas. Extraordinary ideas. They also obviously have an amazing team and a considerable budget to pull them off, but plenty of uninteresting ideas have that and get made.
Below is a TED Talk they gave on "How to Find a Wonderful Idea". They point out that the usual approach of sitting in your chair (or other favourite thinking spot) and dreaming up an idea, then planning and polishing it before executing it is missing a vital step: the "sandbox" – that place where you play and discover or unearth your real idea, the wonderful one that the preliminary idea (which leads you to where the sandbox is) was just the seed for.
Have you unearthed some of your own wonderful ideas in a sandbox of some type? What's your favourite sandbox? If you haven't tried it, where could you start? Let me know in the comments below!
Introducing “My Favourite Tool”, a new regular feature (roughly one per month). In Episode 1 I look at the basic, traditional Chinese brushes I've been using a lot of lately.
Do you have a favourite tool, or one you would like to try? Let me know in the comments.
Happy Valentine's Day!
Kim Lee Kho
As a visual artist I like nothing more than getting up to my elbows in paint or little plastic toys, or wading in at the deep end in pursuit of an idea. When I am not teaching others in a similar vein, you can find me researching, writing and noodling around in my studio, seeing where my latest lines of inquiry lead me.
All images and content on this website © Kim-Lee Kho 2005–2018 except as indicated. All rights reserved. No reproduction without express, written permission.