Dr. Kyle Jenkins is coordinator of Visual Arts and senior lecturer in painting and art theory in the School of Creative Arts, Faculty of Arts, University of Southern Queensland. He has exhibited for over 15 years both nationally and internationally in both commercial and museum exhibition spaces.His artist practice is concerned with spatial construction through colour and line related to both representation and abstraction. His practice is multidisciplinary incorporating painting, wall painting, photography, objects, porcelain, collage and drawing. He is represented by Minus Space (New York).
My practice for the past 15 years has been concerned with aspects of intuitive abstraction which incorporates hard edge and organic abstraction as well shifting methodologies of mark making and spatial narratives that are situated within paintings, collages, photographs, objects, Marquette’s, books, films, wall paintings and works on paper. These works involve the deconstruction and reconstruction of various relationships between conceptualised and physical interpretations of space. As humans we confine, expand and grid various interpretations of space into evolving forms of activity and it is through this continuing synthesis that the work has continued to be developed within a social and cultural context.
The various artworks aim to expand upon the aesthetic possibilities of structures and how these are a way of examining the world as a series of abstract compositions and constructions. Through this the composition of the work is a procedure of sampling and layering space, ideas and theories using the collage, the overlapped and the fractal not only as technique but as a strategy. The work as a whole is a series of relational forms or fields of opportunities rather than separate and limited objects, and thus creates a system of references, hybrids, negotiation and reinterpretations from work to work, image to image.
Through the very basic elements of line, colour, form and surface the work investigates how the double exposure between what the images look like and how they are constructed and the displacement of space can lead to new spatial experiences. Thus the paintings, collages, photographs, objects, Marquette’s, books, films, wall paintings and works on paper create a kind of ‘play’ between form and void - for example the form of the gap in one art piece can constitute the actual shape of the next one. This method of working further investigates the connections between formal and informal methodologies of abstraction and thus the work constantly examines the mapping and reconstruction of imagined urban terrains, geometry, colour, representation and fractural compositions.