Chris Kahler: Permutate by Bruno David Gallery

C H R I S KAH L E R PERMUTATE

bruno david gallery

CHRIS KAHLER Permutate

October 14 - November 11, 2017 Bruno David Gallery 7513 Forsyth Boulevard Saint Louis, Missouri 63105, U.S.A. info@brunodavidgallery.com www.brunodavidgallery.com Owner/Director: Bruno L. David This catalogue was published in conjunction with the exhibition “Chris Kahler: Permutate” at Bruno David Gallery. Editor: Bruno L. David Catalogue Designer: Haleigh Givens Designer Assistant: Claudia R. David Printed in USA All works courtesy of Chris Kahler and Bruno David Gallery Photographs by Bruno David Gallery Cover image: Biolumen 8B, 2017 Acrylic and ink on paper 26 x 20 inches First Edition Copyright © 2017 Bruno David Gallery All Rights Reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of Bruno David Gallery

CONTENTS

CHRIS KAHLER INTERVIEWED BY JAD SMITH AFTERWORD BY BRUNO L. DAVID CHECKLIST AND IMAGES OF THE EXHIBITION BIOGRAPHY

CHRIS KAHLER INTERVIEWED BY JAD SMITH

Jad Smith: How does the title “Permutate” relate to your vision for this show? Is it meant to suggest that the order of the paintings is interchangeable rather than sequential? Does it playfully juxtapose the ideas of “permanence” and “mutation”? Chris Kahler: As you may have noticed in previous exhibitions, I tend to work in reverse. I like to immerse myself in the body of work while thinking about the various concepts that drive my decisions. The title of a show comes toward the end. I think you are on the right track with my thought process. I was questioning linear possibilities and systematic process. The new work pertains to the concepts of destruction and regeneration, and the rhythm of emerging forms. Fluorescent colors are more dominant in these works, and it was purposeful. Play was always on my mind, and I attempted to keep myself off balance throughout the process. The one constant for me was to create works that suggested a frozen moment of growth or destruction. Viewers are asked to bring their visual memories to the work and decide for themselves how to experience the work. Smith: The colors in these paintings do seem brighter and more florescent than in previous shows. Could you talk more about how your use of color has changed? Kahler: It is intentional, and I love the impact of these colors. I think this goes back to working with Ed Paschke in graduate school. I really admired the saturation in his works. Reproductions do not capture the visual punch of the work. That is why seeing works in person is so important. I recently saw a few paintings from the previous works-on-paper show I did, and the contrast was dramatic. I barely used any fluorescent colors in the other works and they seemed rather subdued. I try not to make my work autobiographical in nature, but I suppose for me the work does accurately portray my tastes over time. I have gone through stages of dark and heavy works and back to more ephemeral works. I have a relationship with my work that is always changing. Familiar conversations occur, but they differentiate themselves over time. Smith: Is one of these recurring conversations about entropy--not in the simple sense of “decay”--but of the difficult-to-predict push and pull of order and disorder within any system or process? Kahler: That is exactly right--I am most interested in my work when it mirrors systems in nature. My process, which starts with painting, prevents me from interfering too much in the early stages of a work. Disorder is the essential first half, and then I intervene to try to bring order to things beyond my control in the later stages of its development. Preliminary sketches are useless to me because I have only a loose plan of how a painting will start. I need that element of the unknown to finish a work in a totally unexpected way.

Smith: Has drawing, which youâ&#x20AC;&#x2122;ve used in the past largely in relation to negative space, taken on a greater role in these paintings? Kahler: Yes, I was excited to challenge myself with more negative space and minimal painted forms. I was fascinated with using more stencils and drafting tools to create illusionistic references in the drawings. I allowed a more organic process to evolve--similar to a bacterial growth--and I had no previously sketched out ideas. Line has been used in previous works to signal depth and a connection to mapping systems that may be more macro than micro. I was more engaged in the drawing portion of these works compared to previous shows. I believe that is why I was more excited in the end. I judge the success of my shows on whether or not I feel the work has evolved and opened up new possibilities for me to explore. Smith: Your paintings have often included zips in recent years, but several in this show do not. Do you see these paintings as having a different sense of motion than the ones with zips? Kahler: Good observation. The zips always seemed like the final element that was missing in the works. I was trying something new with these works and hoped that the drawing process could replace that missing element. These works have a more shallow sense of space. A different challenge to be sure. I still attempt to suggest deeper space, but it is more subdued in these works. Smith: Did any techniques play an especially important role in the creation of these paintings? Kahler: Yes, I ruined a lot of pens because I insisted on doing all of the drawing after I did my layers of painting and sanding. The pens kept getting clogged with pigment and dust. I was really fighting each work, but in the end that was what made me more innovative with trying to make it work. The order in which I layered the florescent colors also became challenging, and I had to work around that as well. Challenges are important to me, because I am easily bored if I can predict how a work will end. Smith: Are there particular details or flourishes in these paintings that you feel epitomize your current approach?

Kahler: The surprising combinations of shapes and illusionistic drafting was a blast. Dare I say fun and unpredictable? Most works were so mesmerizing that I found myself losing a sense of time and was genuinely surprised by how areas came together. At the end of each work, I continued to sand the surface to let go of the renderings and discover an ephemeral quality that one can never plan. Smith: Could you talk more about this unplanned or ephemeral quality of your work? Is it accessible to viewers? Kahler: I hope it is accessible to the viewer. Of course, it depends on what kind of information the viewer brings to the work. I have a visual memory, so when I am creating a work I interpret it with dozens of references. It is never a singular concept. The idea that might have inspired a work develops in multiple directions at once, but I do think that opens up possibilities for the viewer to coproduce meaning. Smith: Earlier, you mentioned that you view a successful show as one that opens up new possibilities. Do you have a sense of how these paintings might influence your approach or process? Where might you go from here? Kahler: I think the drawing elements are getting more exciting to me right now. I see a lot of potential for more exploration. Repetition and referential shapes interacting with a system are very interesting to me. I find myself wanting to become even more non-objective, but I am drawn back to the referential most of the time. Of course, I usually enter into the next body of work with intentionality and then it veers off into other directions. My curiosity tends to drive the work.

Jad Smith is Associate Professor of British Literature and Cultural Studies. His interests include eighteenth-century British literature and science fiction. He teaches graduate seminars titled Enlightenment Sexualities, Restoration and Eighteenth-Century Drama in Performance, and SF Avant-Gardes: New Wave and Cyberpunk, as well as a wide range of undergraduate courses. His recent book: John Brunner, Modern Masters of Science Fiction Series (University of Illinois Press, January 2013)

AFTERWORD BY BRUNO L. DAVID

I am pleased to present a new exhibition of recent works on paper titled “Permutate” by Chris Kahler at the Bruno David Gallery. This is his ninth solo exhibition with the gallery. The new series offers a unique body of work emerging from the questioning of linear possibilities and systematic process. The new work pertains to the concepts of destruction and regeneration, and the rhythm of emerging forms. Kahler’s exploration of negative space, light, and intersecting planes has resulted in arresting juxtapositions of biomorphic and ephemeral forms. Similar to previous works he explores the “boundaries between physical and psychological time, between phenomena and the variable conceptual filters for understanding them.” Chris Kahler is the Department Chair and Professor of Painting and Drawing at Eastern Illinois University. He received his B.F.A. at Ohio Wesleyan University and M.F.A. from Northwestern University, Chicago, IL. Kahler has been the subject of numerous one-person exhibitions at venues including the Richard Ross Art Museum, Delaware, OH (2014); Anita Wooten Gallery, Valencia College, Orlando, FL (2011); John P. Weatherhead Gallery, University of Saint Francis, Fort Wayne, IN (2009); Museum of Surgical Science, Chicago, IL (2002). Support for the creation of significant new works of art has been the core to the mission and program of the Bruno David Gallery since its founding in 2005. I would like to express my sincere thanks to Jad Smith for his terrific interview. I am deeply grateful to Haleigh Givens, who gave much time, talent, and expertise to the production of this catalogue. Invaluable gallery staff support for the exhibition was provided by Cleo Azariadis, Christina Lu, Haleigh Givens, Peter Finley, Viola Bordon and Thomas Fruhauf.

CHECKLIST & IMAGES OF THE EXHIBITION

Biolumen 1B 2016 Acrylic and Ink on Paper 30 x 22 inches

Biolumen 13B 2017 Acrylic and Ink on Paper 30 x 22 inches

Biolumen 3B 2016 Acrylic and Ink on Paper 30 x 22 inches

Biolumen 7B 2017 Acrylic and Ink on Paper 26 x 20 inches

Biolumen 10A 2016 Acrylic and Ink on Paper 22 x 30 inches

Biolumen 8A 2016 Acrylic and Ink on Paper 22 x 30 inches

Biolumen 11B 2017 Acrylic and Ink on Paper 30 x 22 inches

Biolumen 4B 2016 Acrylic and Ink on Paper 30 x 22 inches

Biolumen 9B 2017 Acrylic and Ink on Paper 30 x 22 inches

Biolumen 10B 2017 Acrylic and Ink on Paper 30 x 22 inches

Biolumen 2B 2016 Acrylic and Ink on Paper 30 x 22 inches

Biolumen 7A 2016 Acrylic and Ink on Paper 22 x 30 inches

Biolumen 6B 2016 Acrylic and Ink on Paper 30 x 22 inches

Biolumen 5B 2016 Acrylic and Ink on Paper 30 x 22 inches

Biolumen 12B 2017 Acrylic and Ink on Paper 30 x 22 inches

Biolumen 8B 2017 Acrylic and Ink on Paper 26 x 20 inches

Chris Kahler: Permutate 2017 (installation view)

CHRIS KAHLER EDUCATION M.F.A. M.A. B.F.A.

1995, Painting/Printmaking concentration, Northwestern University, Evanston, Illinois 1992, Painting/Drawing concentration, Eastern Illinois University, Charleston, Illinois 1991, Painting concentration, Ohio Wesleyan University, Delaware, Ohio 1990, Study Abroad, Parsonâ&#x20AC;&#x2122;s School of Art and Design and The American University, Paris, France

SOLO EXHIBITIONS 2017 2016

Bruno David Gallery, Chris Kahler: Permutate, St. Louis, Missouri (catalogue) Bruno David Gallery, Chris Kahler: Metaphemeral, St. Louis, Missouri (catalogue)

2015 2014 2013 2012 2011 2010 2009 2007 2006 2004 2002 1997

Bruno David Gallery, Chris Kahler: On Paper, St. Louis, Missouri (catalogue) River Campus Art Gallery, Chris Kahler: Emanations, Southeast Missouri State University, Cape Girardeau, Missouri Bruno David Gallery, Chris Kahler: Dialumens, St. Louis, Missouri (catalogue) Richard M. Ross Art Museum, Chris Kahler, Delaware, Ohio Bruno David Gallery, Chris Kahler: Disequencing, St. Louis, Missouri (catalogue) Bruno David Gallery, Chris Kahler: Recent Paintings, St. Louis, Missouri (catalogue) Anita S. Wooten Gallery, Chris Kahler: Duality, Valencia College, Orlando, Florida David Richard Contemporary, Bio-Dynamic, Santa Fe, New Mexico (catalogue) Bruno David Gallery, Chris Kahler: Hybrid Dynamic, St. Louis, Missouri (catalogue) The John P. Weatherhead Gallery, Chris Kahler: Interconnectivity, University of Saint Francis, Fort Wayne, Indiana Bruno David Gallery, Chris Kahler: VIRAL, St. Louis, Missouri (catalogue) Bruno David Gallery, Impulsive Systems: The Works of Chris Kahler, Saint Louis, Missouri (catalogue) Elliot Smith Contemporary Art, Chris Kahler: Recent Works, Saint Louis, Missouri The International Museum of Surgical Science, Chris Kahler: ANATOMICA, Chicago, Illinois John Almquist Gallery, Dismantling Beauty: Christopher Kahler, Winnetka, Illinois

SELECTED GROUP EXHIBITIONS 2017 2016 2015 2014 2013 2012 2011 2010 2009 2008 2007 2006 2005

OVERVIEW_2017, Bruno David Gallery, St. Louis, Missouri (catalogue) Chicago Paints, The University of Ohio Art Gallery, Athens, OHIO Burst of Memory, Bruno David Gallery, St. Louis, Missouri AND / OR, Bruno David Gallery, St. Louis, Missouri (catalogue) OVERVIEW_2015, Bruno David Gallery, St. Louis, Missouri Analogons, Daum Museum of Contemporary Art, Sedalia, Missouri OVERVIEW_2014, Bruno David Gallery, St. Louis, MIssouri Chroma Exploda: Contemporary Paintings, River Art Gallery, Southeast Missouri State University, Cape Girardeau, Missouri BLUE-WHITE-RED, Bruno David Gallery, St. Louis, Missouri W.O.P. I, Bruno David Gallery, St. Louis, Missouri OVERPAPER, with Carmon Colangelo, William Conger, Alex Couwenberg, Jill Downen, Yvette Drury Dubinsky, Beverly Fishman, Joan Hall, Ann Hamilton, Kelley Johnson, Chris Kahler, Matthew Penkala, Judy Pfaff, Paul Henry Ramirez, and Buzz Spector. Bruno David Gallery, St. Louis, Missouri (catalogue) Gallery Artists, Bruno David Gallery (Project Room), St. Louis, Missouri NEXT, Art Chicago, Chicago, Illinois, (Bruno David Gallery) Overview_09, Bruno David Gallery, St. Louis, Missouri Synchronous Events, Works of Chris Kahler and Charles Schwall, Purdue University, Patti and Rusty Rueff Galleries, Lafayette, Indiana New Paintings: IL+MO, Edwardsville Arts Center, Curated by Daniel Raedeke, Edwardsville, Illinois Controlled Chaos, Bruno David Gallery, St. Louis, Missouri Overview_08, Bruno David Gallery, St. Louis, Missouri ArtsDesire, Contemporary Art Museum St. Louis, St. Louis, Missouri. Biennial 24, South Bend Museum of Art, Curated by Meg Sheehy and Myra Casis, South Bend, Indiana Paper Now, I Space, Chicago, Illinois Overview_07, Bruno David Gallery, St. Louis, Missouri Drawing & Watercolor, Tarble Arts Center, Charleston, Illinois Overview_06, Bruno David Gallery, Saint Louis, Missouri Inaugural Exhibition, Bruno David Gallery, Saint Louis, Missouri Le Papier, Gescheidle Gallery, Chicago, Illinois

2005 2004 2004 2003 2002 2001 2000 1997 1996

The (In)Visible Body. Curated by Heather Weber, NIU Gallery, Chicago, Illinois Noire, Curated by Bruno L. David, Elliot Smith Contemporary Art, Saint Louis, Missouri Abstract Painting: Six Points of View, Curated by Belinda Lee, RAC Gallery, Saint Louis, Missouri 1984-2004 Twentieth Anniversary Celebration, Curated by Bruno L. David, Elliot Smith Contemporary Art, Saint Louis, Missouri Art St. Louis XX, Curated by Chakaia Booker, Art St. Louis Gallery, Saint Louis, Missouri Everything You Ever Wanted To Know About Art..., Elliot Smith Contemporary Art, Saint Louis, Missouri Size Matters, Curated by Bruno L. David, Elliot Smith Contemporary Art, Saint Louis, Missouri Midwestern Exhibition, Rockford Art Museum, Rockford, Illinois Art St. Louis Selections, Schmidt Art Center, Belleville, Missouri 2004, Curated by Mel Watkin, Art St. Louis Gallery, Saint Louis, Missouri Greater Midwest, International Exhibition XIX, Art Center Gallery, Central Missouri State University, Warrensburg, Missouri Works on Paper, I-Space Gallery, Chicago, Illinois Systematic, Cade Center for the Fine Arts Gallery, Anne Arundel Community College, Arnold, Maryland Art St. Louis XIX, Art St. Louis Gallery, Saint Louis, Missouri Ready for War, University Galleries, Illinois State University, Normal, Illinois Southern Illinois Artists Exhibition, Mitchell Museum, Mount Vernon, Illinois Polka-dots and Squiggly Things, Gescheidle Gallery, Chicago, Illinois Inspired in Illinois, Lakeview Museum of Arts and Sciences, Peoria, Illinois Artists-Alumni: Masters of Fine Arts from Northwesternâ&#x20AC;&#x2122;s Department of Art Theory and Practice, Block Museum, Northwestern University, Evanston, Illinois Nineteenth Biennial Southern Illinois Artists Exhibition, Mitchell Museum, Mount Vernon, Illinois The 13th Biennial Drawing/Watercolor: Illinois Exhibition, Tarble Art Museum, Charleston, Illinois The 2000 Rockford-Midwestern Exhibition, Rockford Art Museum, Rockford, Illinois Americas 2000, Northwest Art Center, Minot State University, Minot, North Dakota Seventh Biennial Regional Arts Exhibition, University Museum, Southern Illinois University, Carbondale, Illinois John Almquist Gallery, Dismantling Beauty: Christopher Kahler and Armin Mersmann. North Shore Country Day School, Winnetka, Illinois Gary Justis Appoints Three: Regina Allen, Chris Kahler, and Brian Schuetz, Lineage Gallery, Chicago, Illinois

GRANTS & AWARDS 2015 Distinguished Alum Exhibitors Award, Ohio Wesleyan University 2013 Emerging Arts Administrators Fellowship, National Council of Arts Administartors 2011 Redden Grant, Eastern Illinois University 2010 Redden Grant, Eastern Illinois University 2008 Paintingâ&#x20AC;&#x2122;s Edge Residency, Idyllwild, California 2007 Paintingâ&#x20AC;&#x2122;s Edge Residency, Idyllwild, California 2006 Honorable Mention, Drawing/Watercolor: Illinois - 16th Biennial Exhibition, Tarble Arts Center, Charleston, Illinois 2004 Vermont Studio Center, Johnson, Vermont. Artist Grant Art St. Louis XIX, Art St. Louis Gallery, Saint Louis, Missouri, Award of Excellence, One of Five, Best in Show. Juror: David Pagel Achievement and Contribution Award, in the Balanced Category, Eastern Illinois University Honorable Mention, Body of Work, Rockford Midwestern Exhibition College Travel Fund Award, Eastern Illinois University 2003 Southern Illinois Artists Exhibition, Mitchell Museum, Mount Vernon, Illinois, Painting Honorarium Award 2002 Faculty Development Mini-Grant, Eastern Illinois University College Travel Fund Award, Eastern Illinois University Redden Grant, Eastern Illinois University 1997 Vermont Studio Center, Johnson, Vermont, Artist Grant 1995 11th Annual All-Illinois Graduate Art Exhibition, Jones Resident Prize 1993-95 Teaching Assistant Scholarship, Department of Art Theory and Practice, Northwestern University 1993 Department of Art Theory and Practice, Northwestern University, TA Scholarship (2 years) 24th Bradley National print and Drawing Exhibition Award 1991-92 Teaching Assistant Scholarship, Eastern Illinois University

OTHER 1999 - Present

Chair, Department of Art, Eastern Illinois University, Charleston, Illinois

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ARTISTS Laura Beard Heather Bennett Lisa K. Blatt Michael Byron Bunny Burson Judy Child Carmon Colangelo Alex Couwenberg Jill Downen Yvette Drury Dubinsky Damon Freed Douglass Freed

Michael Jantzen Kelley Johnson Howard Jones (Estate) Chris Kahler Xizi Liu Bill Kohn (Estate) James Austin Murray Leslie Laskey Yvonne Osei Patricia Olynyk Gary Passanise Judy Pfaff

Charles P. Reay Daniel Raedeke Tom Reed Frank Schwaiger Charles Schwall Christina Shmigel Thomas Sleet Shane Simmons Buzz Spector Cindy Tower Ann Wimsatt Monika Wulfers

Ellen Jantzen