After the success of 2014, Galerie Celal Paris hosts again an exhibition of multidisciplinary artist Kenor entitled “Movement”. This artist, structurally linked to urban space, continues to work in this environment not as a trend that conceptualizes it as a showcase to get known, but as an almost obsessive personal need to interact with space, with passersby and with himself in order to achieve a sense of creative freedom. In his artistic career, pictorial evolutions have not been accompanied by a change of instrument or material, but a body gesture.
The direct and natural movement of the spray-painted lines on the street are captured in the canvas with a clean and expansive action. The defragmentation of those lines into pieces of colour abounds in his artwork. In some cases, it seems as if the outline of the lines imploded, parted from inside. In other cases, it seems as if external splashes spreaded around the scene. Conveying a sense of movement in both cases. It is no coincidence, then, that the title is “Movement”. This indicates, on the one hand, the basis on which his paintings and sculptures are created, and on the other, how he interprets the artwork. Indeed, the creative development usually starts by choosing a song and interpreting it. In this case, Detroit´s techno music is present, its abstract and futuristic rhythm is perceived in a composition exclusively made with straight lines. Every beat seems to correspond to a gesture, a colour. The lines intersect and overlap on each other. Just as the beat forms the colour of the song, the set of lines and colours form the rhythm of the artwork. When a melody or a change of pace is associated with each set of lines and colours, it is possible for Kenor`s work to transmit its full potential. According to the artist, it aims to encourage the viewer to “feel part of a sound fragment.”The exhibition presented in this occasion contains a greater number of sculptures than previous exhibitions: 13 paintings and 6 sculptures. Sculpture work is close in shape to his first installations in abandoned spaces. In such spaces, he used residual materials remaining after the dismantling, mainly iron. Now, that same material takes centre stage again. Sculptures allow his artwork to transcend the two dimensions linked to painting on canvas and the consequent limitation of a merely virtual movement. In contrast, three-dimensional sculptures require the viewer to scroll through the artwork, implying that the movement is no longer merely suggested or intended but real. Find out more here!