Our talented friend Meghan LeClair sat down with Kris and Kurt this week before the opening of their much anticipated collaborative exhibition, which opens tonight, Saturday March 10th, 2012.
Thanks and love to Sensible Reason, and Meghan specifically for her ability to bring out the intention behind this art through this thoughtful and insightful interview. Please be sure to check out the Sensible Reason blog here.
Interview with Inter-Dimensional Artists Kris Davidson and Kurt Redeker—Life Patterns
Let’s start from the beginning, shall we? How did the two of you meet, develop a relationship and decide to collaborate on an exhibition?
KR: We met through a mutual friend, and I wanted Kris and David Hale to bring their ++Medicina++ show to Colorado, so she helped propel that. Before Kris and David got out here, I talked to Kris about a pattern he made and asked if I could do some work over the top of it. They came out for the show—which was a huge success—and they also spent time here tattooing. We hung out for a good ten days—all of ten days, really—and a friendship started to develop, a connection.
KD: Kurt asked if he could utilize this pattern, and play with it…and it sounded great, but I had no idea what he was going to do. Before we came out here to Colorado, Kurt sent me an email with a rendering of it and I was blown away. It felt like a harmonious extension of my inherent tendencies of what I was already working with, and I was like, “We should do a show.” Following that loose agreement we’ve been able to get to know each other, and become tight bros. It seemed that what coalesced in his taking my pattern and adding his magic and medicine to it opened up a window of vast potential and it was just obvious that we needed to keep taking the steps to build more.
The collaboration for ‘Life Patterns’ is based on a unique approach to artistic partnership—quite different from the traditional collaborations that people associate with visual artists. How do you manage this process?
KR: What Kris does is a 2D pattern, and then I take that pattern and I vibrate it and I make it come into a three-dimensional space. The way that I put it is: Kris downloads the code, and I decipher the code…that’s basically our collaboration together.
KD: I know that Kurt speaks of it this way too, but I feel like when I’m working and I’m in the groove and my mind gets out of the way it feels like a channeling. It’s not coming from my mind, it’s coming from Spirit. It’s coming from beyond self. It feels really ancient, like these ancient totemic codes. That’s where I leave it and pass it off to Kurt. I feel like he can look at it and his gifts are able to crack it open, decipher it and unfurl it into realms of refined meticulousness and beautiful color.
Kris, your designs draw upon many cultural influences, such as Sacred Geometry, Navajo weavings, Celtic symbols, Buddhist mandalas, even technology and the microchip. This collaborative series with Kurt appears to portray the integration of more universal and varied geometric images. Can you describe the integrity of the collection?
KD: It’s ambiguous—in terms of putting it into words—but I think it’s really pulling from the source thread of divine creativity. Through the eons, every culture has had their own culturalized link to that source of divine creativity…so when I open up, and this channeling type of thing happens, I feel like it’s pulling on something that does reflect and speak to these other cultures. In one composition there’s going to be elements of North American tribal totemic imagery, South American geometry, Islamic patterning, maybe, it goes on and on. It’s like a new tendril, a new unfurling of this age-old tradition of interpreting divine creativity.
When I was in art school there was one teacher that could really relate with me and see me on this sacred geometry, mystic level. One day I was creating a mandala and it had aHunab Ku in the middle, and he looked at it and said, “No disrespect to the Hunab Ku—it’s a very sacred image—but what’s behind that?” So I painted over it and brought my own interpretation to it, so that it wasn’t reminiscent of any literal symbol. Through that experience I decided to use general templates—such as the hexagonal grid—and pull out geometry from that, so it’s reminiscent of myriad symbolisms and cultural expressions, but it’s also something unique and relevant to the culture that we’re in now. With the images in ‘Life Patterns,’ the framework that we start with is four (instead of the hexagon, which is six), and that’s the common denominator that Kurt and I are able to work on; that’s the template that our languages are able to funnel into, synthesize and blossom out of.
These pieces aren’t particular symbols that are representative of a specific culture or lineage; they’re a synthesis of everything, so a certain amount of ambiguity is a really effective way of giving people the freedom and the space to interact with them based their own unique and personalized capacities to interact, and it varies.
Kurt, your augmentation of the work brings movement and an added dimensionality to the pieces. How is this achieved? And what is your intention with the collection?
KR: I’m trying to show the higher dimensions and vibrancies of all things—the healing power of the universe. I really believe that the vibrancies of life and the movements of life are all you really need to heal within yourself. The geometries we make and the vibrations we lift, allow for healing to occur through a meditative state; it’s medicine.
KD: Kurt established this gallery to bring together different artists that have a similitude and intention, and they do have that connection and intention. I feel like when I’m working—and when Kurt and I are working—I’m communing with my higher self and my higher self is connected to Source Creator, to the Divine and divine creativity. Kurt is, too; we collaborate there. If that can funnel through and touch that same place in someone else, and inspire a spark of illumination, or a spark of insight on anything in their life that clarifies or brings healing, or brings the motivation to reach out to their relations in an unprecedented way…then I’m floored by that. Really anybody’s experience with this art is valid, but ultimately I want to inspire—even if it’s just one person who is more inspired than they were before they saw the art—that makes me feel that there is true meaning to it, and not just this personal indulgence of creating. It has to be beyond the self. I feel that in my heart.
KR: Personally, I want to heal the world; it’s what I really want to do and how I can do it is through this art that we’re creating right now. I think it’s going to touch everybody, that’s what I really believe.
Are there any plans to collaborate in the future?
KD: Absolutely! We don’t have the next show planned, and we don’t have the next piece of work planned, but it’s been really magical thus far; this whole process of collaboration has coalesced in a really graceful way. We’re all about the furthering of what’s been happening, and we’re open to whatever opportunities are going to present themselves to allow that furthering.
KR: I’ve got some ideas on how we’re going to take this to the next step. I feel blessed to work with my brother, Kris…it has been very easy to have this happen, and I think bigger things are coming.
KD: We both have our unique gifts that we offer, and I’ve just got to give it up to him for not only being on the ground and dialing in the nuts and bolts of manifesting this exhibition into this physical form, but also for having foresight and positioning everything in a way that allows us to have that conversation, to allow that possibility to happen. He’s really been there for that, and I want to acknowledge how thankful I am.
KR: I’d also like to mention Corey Hartman at Furthur Frames for his amazing work; he’s a vital part of this process! I’ve been working with him for two years doing these light boxes, and now we’re a stage where it’s pretty dialed in. He really finalizes it for everybody.
KD: Definitely! As we were saying: I get this code—the emanations of the ancient—and Kurt deciphers it, and proliferates it and brings it into the future. Then I have to acknowledge Corey’s work, because he really brings it all together and accentuates it in a way with these exquisite frames that make it accessible to whoever’s going to see it. It wouldn’t be the same without his skills, and hard, focused work and vision. He’s integral.
Digital art is a relatively recent emergence. How did you get into it, Kurt?
KR: I am a fine artist and painter, and have been my whole life. I went to college and majored in design. When I got out of college and moved to Colorado I worked in ad agencies doing marketing and illustration work. The computer is a magical tool, but still, it’s just a tool…what really matters is how you use it. I feel blessed to be able utilize such a tool, and I’ve worked hard to get to the level that I’m at with the computer and the various programs that I do use. Sometimes I wonder if I’m ever going to go back into the traditional style of things, but I stopped questioning because I think this is my tool now.
We are approaching a dimensional shift that has been prophesied for eons. How are you personally experiencing the times, and do you have any thoughts on the transformation that occuring?
KR: If there’s one thing I could say…it’s to lead with your heart and follow your passion. And work together as a community…because, I think if we do that this place is going to be far better. It’s a magical place, as is…but it can be more.
KD: What inspires me and moves me to the core is that it seems we’re now in the crest of the absolute; we’re amidst this apex of change on all levels, whether it’s the physical reality as we see it or going through the realms of consciousness. It’s the time the prophets talked about; it’s woven through the prophecies, all the seers through all the cultures have spoken about this time. It’s a time of unprecedented acceleration and transformation all on levels, in the realms through and through.
KR: We’re ascending, and we need to embrace it and lead with the heart. Don’t let any body lead you. We’re all in this together.
KD: The time is now, and nobody is left behind…but you better get your shit together. There’s just no room for BS; there’s no room to be out of synch with your true nature, with the earth and with the constellations that we’re woven into. It’s time to be real with ourselves and with each other; it’s time to harmonize. We need to work out our issues internally and externally, because there’s not really any room to not do that any more. It’s a really potent time…and it blows me away, honestly.
KR: Personally, it’s an evolution for me. The last couple years have been pretty monumental. I know what I’m trying to focus on presently, however, thinking back to a year ago…it’s mind baffling for me how I got from there to here. I’m embracing what is all happening right now, and trying to keep it in perspective and understanding. Change is happening all the time, and it needs to happen more right now. I think that’s what we’re trying to do with some of this architecture.
KD: I think a big part of this universal change that is happening—at the core—is rooted in consciousness…and when I really look at that, I’m rendered speechless. But where I find some solace in that is that I can express where I’m rendered speechless in the visual…and the visual art, to me, is a byproduct of the changes in consciousness that are happening. If there aren’t changes in consciousness, that’s when this byproduct called art repeats itself. So I think the art and the way that we express ourselves, and reach ourselves into the world, and connect with our relations…I think that’s a way of tracking the change. So it expresses it, but it leaves some mystery…and there’s respect for the great mystery by leaving some ambiguity there.
We don’t speak straight toward political currents, but I do think that there’s a lot of sickness in the world…and a big reflection of the change that is occurring is the healing. What is dark and what isn’t working on these political, mass current event levels is reflective of the sickness that’s still hanging on. In this time of acceleration there’s a lot of healing happening and humbly, I hope the art supports that on some level. I’m not saying it’s the end all be all, by any means, but hopefully it supports that healing that needs to happen.
Finally, what words of wisdom do you have for aspiring artists attempting to make their way through the world.
KR: Passion and love…love what you do. Whatever your creation is, do it from your heart.
KD: And just be real with your heart. Be real with your inherent tendencies of expressing yourself in the world…and if you do that, you’ll fall right into accordance with your inherent gifts. There’s a thread to follow there…and it’s not easy, but follow your gifts, follow your heart, and work through the hurdles that try to tell you that you can’t do that, because it is possible. It’s not easy, but it’s worth it…and it’s beautiful and it’s satisfying on the levels that really matter.