latest art Collection
The first word that comes to mind when looking and exploring Kimberly Balla’s artwork is the Alchemy. From the medieval connotation, to the 21st century’s quest of discovering the other worldly, intensifying the everyday reality, finding the infinite, ultimately for the ambitious finding the universal elixir. In this case, the ambition is not set towards the elixir and ultimately the possibility of the power that corrupt, but rather, it is an invitation to see the world beyond, in wonder, a great exhilaration just in seeing. Sometimes we observe almost the weightless world of dust or snowflakes, it is inviting but the proportions of this body are the barrier to entering this world. We can only imagine what it would be like to have access to this reality and Kimberly is giving us this vision, it is highly transformative, just like her art on the outside. The methods of creation are merging the two opposing ends, one is the traditional oil paint and the other is the new materials, the benefits of living in the 21st century with motto, “explore and experiment, mix and divide”. There is a sense of spacious, ever evolving interaction between the floating objects. At first sight we can think of them as viruses, bacteria, eukaryota or even archaea. It is this distant world from which everything started, but also which is the most populous on this planet, brimming with life, and constant alterations genetically, just like the modern alchemist exploring through tests and trials. Kimberly’s latest collection exudes with peace, ultimate harmony with time, which is something we can see less and less often in our productivity controlled world. The closest association observable with the physical world and these pieces is in the depth of the ocean, there is a palpable sense of vastness. When we dive deep into the mysteries of the almost weightless existence in the ocean we sense the scope of reality surrounding us. How tiny and insignificant and yet powerful and connected we are, just like the floating elements in this collection. It reminds us of the innermost sense of self and at the same time the distance the micro and macro world present.
Irina Ideas written in 2020
Portal to a world behind the art works
Work Themes And Process
My work focuses on the main theme of process. Each piece is a new manipulation of a chemical technique which I developed in 2013. Like a scientist in a lab, I think of each new work as an experiment; creating symbols and forms which make up their own unique environment. Each stroke or technique creates a new figure which adds to my visual vocabulary of the process. With this visual vocabulary I can form new worlds of my own; grounding each symbol or shape in designated zones. I observe my process as magically ethereal yet biologically familiar so I strive towards environments which mimic these characteristics and feelings.
One theme I often lean toward in my work is the idea of interconnection of all life and nature. I aim to provoke discussion of how each and every decision, product, or action creates a chain of events which impact the future. This is an idea I find we as a civilization must grasp for the longevity of ourselves and the planet.
I also explore themes of the micro-macro make up of life and distant realities. Certain patterns in nature are witnessed within us as tiny cells and neurons, to larger patterns seen in nature, and throughout the universe. In this way we can directly visualize our biological connection within the universe. Realization of these patterns may be an important key in the discovery and understanding of our purpose and existence.
I also explore themes of chance and manipulation. I use a chance based process in my work which I have come to know and harness as my own. I have accepted this chance based process does not always turn out how I had planned. I explore the idea of having a hand in the direction of the process but not completely controlling the outcome. I see this theme again and again in science, technology, and the natural environment ect. We influence crops, cells, organisms, and computers without completely understanding the effects. The outcomes can be strangely beautiful or uncontrollable mistakes. Most of the magic happened for me in college at Western Washington University in Bellingham WA. I was in college; you know what they say, the best years of your life. I had phenomenal teachers at WWU…. And I was in the beautiful town of Bellingham.
What is the latest dream you had? How would you like this civilization to look like in 100 years?
I think 100 years from now we will be forced to look for a new home or planet due to over population and unsustainable natural resource consumption. I believe we will more than likely be heavily involved in space exploration and excavation.
I frequently envision scenes of an apocalyptic aftermath. I imagine how life on earth might end and the threats that we face in our future. The main threat I see as a real possibility is nuclear disaster. In which case the land would be flattened and contaminated to a point where it might only be safe for drones and other technological devices to enter. I hypothesize about what creatures or beginnings of new life might emerge from the wreckage.
What inspired you from history of art, books, philosophy, science, any other disciplines?
Yes! This is exactly the way I stumbled upon my chemical process. I was entranced by the works of Max Ernst and more contemporary artist Darren Waterston. Max Ernst used his frottage grattage methods and Darren Waterston used his method of bees wax and resin. I realized what I enjoyed most about both artists is they had their own process’s which they developed making their work unique to them. My last year of college I decided to take three months to just experiment and try to find my own unique process. At first it was actually a hunt to figure out how Max Ernst created his signature technique, but it eventually developed into a more elaborate search for my own way and method. After months of experimentation I ended up stumbling upon my technique by happy accident. One night I was working on some techniques I already had developed to make interesting patterns in the paint. As I continued working I got a little clumsy and knocked over some bottles. The medium spilled onto the canvas and started to chemically react. I didn’t want to ruin my roommates table so I strained to keep the mess on the canvas, and before my eyes appeared this beautiful fractal design. I knew that was my Aha moment and moved forward with larger works.
How would you describe your process of entering the flow, what other disciplines overlap with your primary vision?
When starting a work and getting into the flow, for me, it’s more of a calculation than a “feel as I go” way of working. I usually start with a loose design of the work I want to create along with a color combination I’m drawn to. I get inspiration and ideas for my designs from many different sources. I use Pintrest as a main source of inspiration. Ill tag different images which speak to my process. Ill collect images of biological patterns in nature, space exploration photos, and other geological landscapes. I look at different images of ice crystals, fungi, microbiology, and even mold. All of these interests speak back to my chemical process being that the natural formations possess comparable fractal formation and “grow” in a similar dynamic.
I also use nature itself for inspiration. Just being out in it and paying attention can open your eyes to the similarities of pattern.
I am always on the look out for inspiration. Being an artists seems to make you constantly on guard and in search for the next design idea, texture, or color combination. It is really a type of lifestyle.
Something that sabotages me is having too clear a picture of how I want a piece to turn out. This took me a while to learn. I need to have a loose idea of the design in my head otherwise Ill get upset if the chemicals don’t work the way I had imagined. My process is so chance based, so I have to mentally prepare myself for the piece possibly not turning out exactly how I planned.
What is your current art project? What are the ideas that you are working on? What is the message you are trying to convey to the world with your art?
My paintings are like finger prints, each having their own soul or essence so unique it may only be created by nature itself.I use a new approach to the old medium of oil paint; I mix new materials from the modern era, with the timeless oils of the past. I’m entrapped by my obsession with the magic-like chemical approach which captures a natural process freezing it in time. I am bound to the exploration of my discovered process, as if it has an energy which is so captivating that I feel I need endless time to understand it. Like the puppet master to the show, I am entranced by a technique I will never completely harness, only have a hand in its direction. I aim to create hypnagogic lands of ethereal figures free floating in a space which the viewer can dive into and escape the noise of everyday life. I intend for my work to create a void into a world which seems familiar yet unfamiliar, and encourages the discussion of the micro macro make-up of life and distant realities.
Exploring the work of artist Hilma af Klint, with all the mystical, occult, metaphysical that she has been tapping into, indirectly going deep into the art that would have later be defined as abstract art. She innovated without even being aware of it and was was the world, unaware.
Exploring the world of Petar Lubarda, seeing through all the way to building block that the stone is
This is a story, a personal impression rather, of a great artist Petar Lubarda with his roots in Montenegro, with trunk in former Yugoslavia’s Belgrade and Paris and branches, leaves, fruits and flowers in the World. He reaches deep into the history and yet gives us something completely new, a way to look through the prism of the stone that becomes a bone that becomes a structure that becomes an architecture. An architecture of the cosmic journey that we all take on this planet becoming one with the stone that made us and at the same time we become appalled from time to time when we notice the glimpses of the core. We live in the world so dominated by the ruthless ruler called beauty that often times we live in the superficial layer that the underlying truth frightens us. We have learnt to ignore the depth to such a degree that we follow the footpath of positive psychology, from one landmark to another, to avoid abyss at any price, the abyss of the unknown that the subconscious mind knows.
Louise Bourgeois is crossing the boundaries of any of the definitions and exploring and emphasizing on the prevailing forces of the subconsciousness of the 20th century
Louise Bourgeois graced this planet with her presence spanning almost a century, during which she created a wide range of artistic pieces in different languages of materials and expression. She is one of the artists of 20th century who always came back to the psychology, self observation, getting back to the core, finding essence in the childhood memories and events.