Tear Drop Series: My work deals mainly with memory and perception, we eventually come to the conclusion that our world is not as we received or thought it would be...similarly to the moment we realize looking thought a rainy window the image behind the window is distorted.
The recurring theme of these raindrop paintings is the clarity of the water, the path the water has traveled to its location and the nostalgias such images invoke. Like a film noir still, this painting confronts the viewer and bring forth memories form previous times. The fuzzy, off-center colors behind the window are just as we think they should be. AS we drive along the interstate of our lives out memories grow hazier in the distance much like looking through he side windows of a moving care and only seeing colors without clear, definitive shapes. These images fade into the distance and while we may remember their general shape or color, they are no longer present and instead become part of our memory. How distorted our memory of these events is what I am trying to capture. The facility as it happens- looking out of a window on a rainy day- is never remembered exactly as it was.
Even as memories fade or age, we transform this prior reality. Individually we take details and exaggerate them to fit our needs. Maybe we finished in third place in that race but it was the best race we ran and as such in its retelling we finished second because the other racer had a false start that the officials missed. We should have been first. We aspire to be first; we want our memories to make us first and in many cases it requires manipulating these past moments. This very idea informs my recent body of work.
Lift Off Series:
In this newest series of paintings, Kun has inverse the relationship between natural and artificial. There is no time/ space continuum in the background but the foreground remains anchored in the literal world of the hot air balloon. AS we drift into the atmosphere, would the earth look warped? The painting also reference the paradigm shift brought about by some noted explorers that the earth is actually round, not flat. But as we dig deeper into the archaeology go knowledge, to borrow a phrase from post-modernity, we realize that Ptolem the Greek geographer and mathematician of 150 C>E. amassed knowledge from the Alexandria library that the earth was in fact spherical. This knowledge came to be lost and in medieval times people thought the world was flat again. How did something that is a universal truth come to be lost during history? These paintings may describe the intellectual thought go when humans rediscovered the earth was lat. If they had risen in a hot air balloon high enough and looked down, they may have believed that the earth looked like on elf the quadrants of these paintings. This relativity towards knowledge and time fashions for Kun's work. There are no absolute answers or truths. They are all just theories, some of which are better than others.
Kun also has a personal angle and not just the intellectual scope: the celebratory optimistic attitude actually permeates from a charged source of material which he can refer to as Holocaust Memorabilia- toy like artifacts that were carved out of wood by his parents (both established well known artists in their own rights) during hiding and brought back after the war, Kun took these relics, nurtured them back into life, repainted them and took them to a different journey involving escapism and fantasy.