Josh Kil

Josh Kil

Image from “The Fictional Geometry of Self-Castration”, solo show ADO Project 2017.

Website: joshkil.com

IG: mejoshkil

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Josh Kil is an artist living and working in New York City. In the past 10 years, he has been active in various creative pursuits. He has been in bands, he is a tattoo artist, he is an active student and practitioner of the occult and has been in a variety of group exhibitions in New York. In 2015 he signed on with Christopher Stout Gallery NY, later to be renamed “ADO Project”. Kil’s first solo exhibition with the then called Christopher Stout Gallery opened in February 2016. The title of the show was “Neither Coincidence Nor Destiny”. The Show included five sculptures that manifested in Kil’s studio through a process of occult practices, his magick and tarot diary, meditations and by following coincidence, accident within the confines of the materials. The five sculptures were rich with correspondences that related to five parts of the accompanying video “Pataphaxitas”, in which Kil attempted to create a psychic loop starting with a dream that his father may have had in 1987. His fathers dream encouraged a new life with a new woman, and he buit a new house. In the dream, a horse-headed homunculus child was born. that represents the artist Josh Kil, as his life was changed from that point. The homunculus would grow to be the same entity that visited the father in the first place, and/or, would grow to create an art show that would recreate the loop, potentially infinitely.

Josh Kil’s second show with ADO Project is titled “The Fictional Geometry of Self-Castration” opens June 2nd 2017. As with the first show, esoteric themes inform Kil’s processes. Starting with his diary, the focus gradually emerged as being about conspiracies and paranoias pertaining to the phenomenal world; of a nefarious matrix that might control ones very perception. Nightmares are often used to manufacture consent in political agendas (both liberal and conservative) and typically cause real life horrors. The reaction is often to try to fight one fiction with another more desirable fiction. This is perhaps, not totally unreasonable, as it seems that the unconscious has a way of manifesting in the physical “real” world, yet in the process, ones attention is drawn away from the initial pathological nightmare. Through physical labor and an investigation in the the processes of the physical manifestation of the unconscious, Kil has created two physical manifestations (sculptures) as substitute referents for ones nightmares. In life, attacking the referents to ones nightmares is often misplaced aggression and a form of stereotyping, and though there are real nightmarish events in the “real” world, it is a worthwhile attempt to separate the nightmare from the equation. In “The Fictional Geometry of Self-Castration,” the artist is encouraging people to project their own nightmares on one of the two sculptures and then vote on it to be destroyed. The ceremony for the destruction of one of the pieces occured midway through the show, on Saturday, June 17th.