k.flightbrobdingnagian penumbra (2009)

As much as I have a preference for work where the craft is beyond on fleek, I will ALWAYS have a bias for outsider art.

Of course, it’s a very real question as to what that word even means when it pertains to image making–with all the rampant pretense, ego and misdirection that entails.

For the sake of the point I’m trying to make here: I’ll take Lynn Kasztanovics over Stephen Shore any day of the week and twice on Sunday.

The thing that makes k.flight’s images so haunting and yes, wonderful, is that any ambiguities or equivocations/quibbles are removed from the proceedings. It’s clear to the viewer what the images concern–more often than not a sort of sultry sexuality as ontology of existence.

The image maker and I have spoken on several occasions and what I feel is relevant to communicate to you is that for all her seeming assurance in the work, she admits to rarely being certain what to make of any of it.

As lame and knee jerk of a connection as it is to suggest: k.flight’s work reminds me of this commercial I saw back in the late 80s. I think it was for Chevy and it was this skater looking kid walking along a beach maybe talking to the camera about how punk rock functioned as a wake up call to rock and roll, reminded it what had original made it so vital and important.

Not all her work is great, but it is all good–even when it falls flat. I can name hundreds of image makers whose work I rabidly support, but there’s only a few that excites me to the marrow of my bones–k.flight is very near the top of that list. And I sincerely hope that I’m able to collaborate with her at some future point in time.

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