CRISPR SCULPTR 9.0, 2018, acrylic and gesso on heavy duty cardboard, dimensions variable. Photo: K.I.A.
CRISPR TXT, 2018, burnt archival watercolour paper, 24" x 14." Photo: K.I.A.
Recently, I had the pleasure of visiting Kirby Ian Anderson's studio in one of the few live/work warehouse buildings left in Toronto: a little oasis amidst the middle-of-the-road nightclubs encircling it. Anderson is a maverick in this city's art community: he does not possess an MFA, and he bypasses the public and private gallery systems by selling his work directly to collectors.
His paintings, really they are sculpture/painting hybrids, take gene-editing as a metaphor for combining and recombining prior paintings. The pictured CRISPR SCULPTURE points to the future as Anderson continues to add new sections and produces resultant new iterations. CRISPR TXT, on the other hand, points to the past, a history of prior paintings that the artist has sandwiched together for viewing in the present tense.
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