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Kim Kielhofner

Last Name: 
Kielhofner
First Name: 
Kim

Central to my way of working is the question, "what can you do with what you have?" -- using what I have around me to stretch my practice. My work is rooted in an everyday process, which allows my work not to be pinned down before it is created but rather is generated through the trajectories and strategies of everyday living. The process is an invention in which the self is put into social and historical processes, but not in a totalizing way. Through the repetitive practices of projecting the self into an overriding narrative, the self performs in a space that cannot be clearly identified. Collecting images everyday and letting the narrative elements collect is part of this process which allows for ambiguity and fluidity, allowing a collapse between self and other. I work with books, installation, sound, performance and video — all which are shaped by the materiality of the everyday. In my artistic practice I am interested in an aesthetic of intimacy and the potential of multisensory experience. My way of working in these explorations involves an element of ambiguity. The work invites an engagement, but also presents elements of a fragmented narrative, which asks, "what is really going on here?" In that question, one journeys through one's sensory perception and memory, horror and relief, violence and innocence, and the possibility that both sets of options are present. I am interested in working with sensory experiences in order to question the threshold between memory and sense. I am interested in the experience of the everyday, that is, the way in which spaces are created and navigated. I seek to create spaces that question the physical forms that intimacy and the body takes. My work is process oriented, it is a trajectory through points of discovery, not fixed in time or material, but created uniquely in experience. There is never an end result, nor is there the notion that there should be one. The act of viewing is not a passive experience and the viewer is drawn in and out of the work. In this way the space between the video and the viewer is collapsed. In this way, the surface allows a shift from the viewer's known reality into a field of new territories and possibilities. http://www.giantpixie.com