American Views



Place and memory were at the forefront of my mind when cutting and composing American Views, a five piece paper artwork made from hand-cut 1963 Atlas pages and Nepalese papers. Each of the five were taken from maps the United States, capturing a glimpse of moments that might have been. 


Like all the works in Views, my 2017 fine art collection that reframes meaning through the symbolic language of landscape and sexuality, the subjects are reclaimed and rendered images taken from online sources. 


The fuchsia and turquoise of the luxurious jewel-toned Nepalese papers, with their gold and silver embossings, are a delightful foil for the aging, vintage atlas pages. Layered beneath pages representing the United States, the papers echo our modern state of first-world colonialism while simultaneously objectifying and celebrating sexuality. 


What keeps inspiring me in this series is it’s ability to harmonize conflict and uncertainty. The various layers of the hidden and revealed draw attention to the relationships between the parts. In some personal way, that space between is a place I find both familiar and invigorating.


The works are $950 for the set of five or $250 each, unframed. 

I hate the way

I wrote a poem this morning. It made me giggle and think of a few of my favorite paintings. And, as much as I hate commuting, it has proven to be a (slow) steady font of inspiration.
The best part is the pacing. I love how, like sitting in traffic, the narrative gets angrier and angrier. That’s what it’s like in my head if I let my focus linger too long. 


I hate the way you congregate
And take a slower pace.
I loathe the left-ward change of lane
That stills a forward place.

I wish death on those who chug along
And never let me pass —
For miles and miles you’ve blocked the lanes,
You mother-fucking ass.

And what the fuck is up with those
Who zoom to cut you off
Then break real hard and slow you down
But feel you shouldn’t scoff?

Oh, fuck the world and fuck you all
And fuck this highway too:
This bird I throw, this honk I blow,
It’s aimed at fucking you.

See, Study, Spy


Clothing was a vital element to See, Study, and Spy. There’s a sense of locker-room intimacy to the paintings, as if all three could be placed in the same setting. 

Views is a multi set collection of paintings, photographs, paper arts, and digital media. The first set is painted landscaped over male forms found and rendered from queer content websites. Paintings are on canvas. See, Study, and Spy are 12×12, $360 each. 

Views

Gaze GawkThe series started as an exploration of the spirit. I was simultaneously taken by the adage “eyes as windows to the soul” and a desire to work with bodies and landscapes. As is typical, the art began to grow and develop on its own, expanding far beyond initial thoughts of exposing even just a portion of the human spirit.

As the first collection began to take shape, a distinct visual language began to form. The subjects, images of nude men taken from tumblrs, Reddits, and other gay pornography sharing sites, echo the objectification of human beings and the sexualization of anything labeled Queer. These found, hand and digitally rendered images are used throughout the collections. The eroticized gaze carries into the landscapes. Power lines, street lights, and wind generators echo the commodification of humanity yet simultaneously celebrate the beauty of energy and connection.

Views II American WebThe beautiful-ugly that characterizes Los Angeles is found throughout the collection, even when the themes drift farther afield than the local area. While Views II explores the nation – and to some extent the globe – it is still centrally a product of the City of Angels, which is home to multitudes but native to few.

Again in the second collection, male figures are central to the subject. They were cut from the pages of a 1963 Reader’s Digest world atlas, with a specific focus on the regions of the United States. Each is mounted on hand made, Nepalese papers. The bright paper and metallic prints make a striking foil to the muted and aged tones of the atlas pages.

Communion Duo WebThe third collection returns to paintings with acrylic ink and mounted, hand-printed and cut, sharpie narratives. The point/counterpoint juxtaposition, through both mirrored and complimentary pieces, creates a jumble of language and meaning while still exploring the exploitative effects of perception.

Language is a driving force of the collection, as it shapes our perception of reality. Word-use changes the context of each image, providing opportunities to gain insight from unique perspectives. Moving from predatory to innocent exchange, the text creates movement within each image, reconstructing meaning (as we each must do in our daily lives) from a deconstructed reality.

Views IV 4-5-6 Web

Views IV is an emotional and digital exploration of commodification using photography, digital collage, and color as modes of expression. The nine-piece set explores various world-‘views’ through figurative line-drawings. Unnatural color effects and iPhone pixelations remind viewers of our own natural ability to shape reality through perception.

The fourth collection is printed on metal in limited release.

Man Prints trio web

Views V is an atlas of narcissism comprised of digitally printed cut-outs of men from the site Guys With iPhones. Pattern and shape play foil to anonymity of the context, simultaneously concealing and revealing the hyper-sexualized affects of consumerism within a contemporary palette. The collection is meant to be shared on smartphones but is also available in individual or collected prints.

Say her name: November 20 is Transgender Day of Remembrance 


I wept the day I learned of Shade Schuler’s death. I’d never met her, hadn’t seen her picture until that morning, but I’d just finished the portraits of Lamia Beard, Ty Underwood, Jazmin Vash Payne, Taja de Jesus, Penny Proud, Bri Golec, Kristina Gomez Reinwald, London Chanel, Mercedes Williamson and India Clarke. The quick succession of portraits brought only sadness; death lingers heavily on the United States.

In just weeks, more names were added to the list of those destroyed: K.C. Haggard, Amber Monroe, Elisha Walker, Kandis Capri, Ashton O’Hara, Tamara Dominguez, Jasmine Collins, Keyshia Blige, Keisha Jenkins, and Zella Ziona.


Transgender women face a one in twelve chance of being murdered in the United States; Transgender women of color have a one in eight chance.


#SayHerName is a twenty-one piece set of 18 x 24 watercolor and ink portraits of Trans Women killed in the Untied States during 2015. Each piece is painted in reds and blues with negative white space as a dra- matic contrasting element. This red, white and blue color scheme reflects the citizenship of the women and the culture that produced their deaths. Paint is splattered across the pristine white of each page, representing the violence each woman faced. The backgrounds number their murders as reported (not the order that they occurred).


K. Ryan Henisey is a queer artist in Los Angeles. The art in his #ArtToEndViolence collection celebrates a passion for important and challenging social justice issues juxtaposed against a veneer of pop art. The superficiality of the genre draws attention to the violence perpetuated against communities marginalized by the dominant culture by forcing the viewer to confront what is meaningful. http://kryanhenisey.com