Kahlil Irving

The work investigates everything from formalism to conceptualism coinciding within sculpture and installation. There is a correlation shaped between historical examples of labor and creativity that have formed the basis of my work ethic. Using micro and macro aspects of the street to construct unique directions to give the viewer a new experience when dealing with history and diversity. I believe in the linked dualities of materials and emotions simultaneously existing as static, dynamic, heavy, light, political, anarchic, old and new. The intention in my practice is to break the cultural rules that have been developed by colonialism. My aim is to navigate and challenge those constructs through materials, their form and performance.

Trained as a sculptor and historian my work is evolving from a small-scale studio production of mixed media sculpture to large-scale projects that are in and outside the gallery. As ceramic sculpture can be produced and withstand certain scales I am working on balancing the need of using other materials that can reach new heights and depths to really engage as broadly as I need.

I use a variety of materials and digital technologies to combine historical references to objects that have been made for certain needs and desires with contemporary issues gathered from mass/social media sources. I use kitsch molds from the 1950-80’s to create a lineage of historical objects to postwar accessibility and privilege that now lives in thrift stores to an extent but are one way of see the evolution of imperial order on trade in a hyper modern and late capitalist society. What is present and seen in the built world made from these materials is really important to what is made visible and invisible in my work. I walk through how to engage industrially produced porcelain objects and bricks made for contemporary housing. This collapsing of time and place is really an important layer in the dimensionality of how the experience of what I am doing takes up space. With these layers I am working to bring the past to the fore through complex layers of form and fiction.