1: Can you tell me about your background? And what was the first artwork you made?

Well, it’s nothing too too exciting. I’m a semi-native New Yorker. I grew up in the suburbs, and then attended Cooper Union (R.I.P.) in the city. My folks split when I was pretty young, but both of them were very ‘new age,’ so that stuck and their respective involvements with holistic healing, new age religion, and other esoterica definitely had an enormous impact on me.

When I was getting some art history in HS I started seeing some of these new agey ideas translated by abstract artists and that’s what really got me going on abstraction.

As far as a first art work, got me. I was always drawing when I was little, and was deep into comics and fantasy art for a long time – I’ve got piles of drawings of wizards and dragons and warriors from elementary school.

2: What is more important to you regarding your work: The Process. The final visual outcome. The material? Or something else?

I don’t think I can separate those. They all beget one another and are interwoven; they’re almost the same thing, or are, at the least, simultaneous. Though if pressed I’d say the making is primary.

3: The process of sanding down the Paintings, how did that happen? And what is originally on the painting to begin with?

The ‘original’ painting is always something I made, usually some sort of gestural abstraction. It’s a direct and very free painting, and something that assumes a certain relationship about mark making and gesture, and embodies a certain kind of belief about art and art making. The original painting is taken and objectified, and acted upon and treated as a symbolic token in a larger ritual. This all evolved very slowly and methodically, albeit intuitively, out of a desire to challenge the way I made art, and to put pressure on my assumptions and beliefs about painting.

The specific act of sanding itself came about in a large part because I’ve done a fair bit of gallery prep work, and at the time that that action worked its way into the painting, I was actually ‘prepping’ my new studio. One of the more annoying art handling tasks to do is to cover up spray paint on gallery walls – you have to sand it, cover it, sand it again, cover it again, and always be crossing your fingers… so it just translated right in, from my physical studio space to the painting space, since I wanted to talk about these marks and gestures that may or may not be able to be erased or covered

4: What influences you?

Friends, games, art, shit I read or watch. The usual stuff.

5: Some people have the opinion that all contemporary art looks the same these days… Care to comment ?

There’s two sides to this for me, and honestly it depends on my mood. On one hand there can be a great sense of community or comradery, and that there’s a larger gestalt. On the other hand, it can be frustrating for so much to get aesthetically lumped together, and for meanings and readings to start to get drowned out in a blur of formal similarity.

I think in regards to this it’s important to get into why things are being made and for them to have a resonant and multilayered set of relationships for the viewer. Shit has to be meaningful.

6: Can you let us in on some of the future projects, works?

I recently expanded my studio space, so I’m going through some minor growing pains as i learn to really take full advantage of the extra space. That’s super enjoyable problem solving. And it’s leading me to make some new things in addition to more more familiar things.

Actual projects coming up though… I’m really stoked for this year. I’m doing two things very soon with my

London gallery, VIGO; a two person booth at Untitled in Miami this December, and a solo exhibition at the gallery in January that will be called ‘unburial rites’. After that settles, I’ll begin preparation for a solo exhibition in Brussels with Almine Rech. She’ll also have a work or two at some art fairs, starting with FIAC. So yeah, a lot to look forward too, and a lot of work to do!

Artist Kadar Brock – Website 

link to www.Vigogallery.com

Kadar Brock – September 5th – 2013

Link to Feature on Sunday S

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Solo Show at The Hole NYC in 2013

Link to artist page at the hole  – Kadar Brock

In what are his most well-known type of paintings—the sanded, scraped and distressed works that are often heavily perforated stretched canvasses—Brock originated his approach to breaking down and rebuilding older artworks.

Taking paintings from almost a decade ago that were bright and geometric, Brock scrapes the works down and covers them with layers upon layers of pastel pigments, then attacks the results by hand in a laborious process of both painting and scraping with a knife and sanding with a belt sander.

The former painting’s composition dictates where the razor catches and the sander obliterates, as the past is transformed into an ethereal and strongly objective work that hovers between materials and art, past and present.

Kadar Brock’s debut solo exhibition, on view at the Hole, features abstract paintings that are the result of buffing surfaces, scraping, collecting, and repurposing stray materials. They’re beautifully damaged objects, full of vibrant detail. In addition to his signature large-scale pieces—created by sanding down surfaces marked with flashe, oil, acrylic, house paint, and spray paint—this suite of new works includes ones constructed from studio leftovers and debris, arranged on canvas like so much colorful confetti.

By Scott Indrisek , September 5, 2013

“They’re pretty randomized,” Brock told me. “The material is from all the paint chips I’ve culled while deconstructing the sanded works—those gestures and brushstrokes are entirely de- and re-contexualized.” This sort of artful recycling is also apparent in a medium-sized work, equal parts sculpture and painting, entitled residuumii. “As I work on the larger pieces I collect the dust that’s sanded off of them, and then cast it into a slab of Hydrocal,” he explains.

“It’s another reconstituted painting: Same basic materials, different configuration. I like these ritual processes that turn around my relationship to mark-making—and how info is inherently, like an aura, maintained in paintings after that turnaround.” Brock’s exhibition is on view in conjunction with one by Kaspar Sonne, featuring paintings that look like they’ve been burned and dynamited off their stretcher bars. 

Does he, I wondered, feel like he’s part of some new generation of painters, pushing the medium forward by destroying it? “I see it as we’re setting up rituals and actions that make painting the result of something almost performative,” he surmises, “but not in some genius-arena-autonomous way; more in a ‘labor labor every day’ kind of way.”

Text from The Hole Solo Show in New York ! 

The second body of work exhibited here is another form of ritualistic painting, where all the scrapings of paint and the ensuing colorful chips end up. Swirled together like a tornado of shredded pigments, these paintings are dense and insistently autonomous paint, a thicket providing no point of entry. 

The final body of work exhibited here is the most obliterated, the pulverized dust from his artistic process, cast delicately into plaster and retaining the powdered and puckered surface, the final point of the destruction of painting before nothingness, the atoms of his artistic universe.

While the technique is an important part of both the appearance and concept behind his work, these pieces on their own exist in a phenomenological world of ideas and concepts divorced from process. The composition of the pieces is dictated by former gestures made with a paintbrush, and ultimately the final work maintains some of that gestural quality: however, due to the transformation of the original piece, these gestures become frozen, petrified, grown over. The works hint at the artist hand, even though the artist’s hand is here wielding a sander and razor. The hand as we see it manifest in the final result is a ritualistic, labor intensive hand, a repetitive, blistered and very dirty hand.

While expressionistic brushstrokes have always deified the romantic artistic genius in this metonymically phallocentric way, these works bury that gesture under labor and randomness, taking away that precious autonomy and also the burden of decision making. The process of making the work is also the process of deconstructing the self, and if the sublime is an idea of a lone genius confronting some consciousness-obliterating hugeness (nature, technology, etc.), then how do these paintings that cede that first-person centrism appear just so sublime?

BIO:

KADAR BROCK

b. 1980 New York, NY

Lives and works in Brooklyn, NY

EDUCATION

2002 BFA Cooper Union School of Art; New York, New York

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