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North America

Roy Kiyooka
Untitled

Roy Kiyooka’s Untitled is a black and white photo-collage of a nude person, seated in a chair cross-legged, holding a white mask in front of their face. To their left is a television with a collaged color image of a person holding the same mask to their face. Characteristic of Kiyooka’s nuanced approach to photo-collage, this work is marked by a stark composition that emphasizes the interplay of light and shadow. The photograph’s simplicity belies its complexity, as Kiyooka masterfully captures the textures and contours of the subject matter, drawing attention to the subtleties of form and the atmosphere it evokes. The absence of any overt narrative or context invites viewers to focus on the visual elements themselves—lines, shapes, and the gradations of tone that lend the image its depth and presence. Kiyooka’s work often explores the boundaries between the literal and the abstract, and this work exemplifies this by transforming everyday objects and scenes into meditative studies of form and perception. The photograph stands as a testament to Kiyooka’s ability to find beauty and meaning in simplicity, engaging viewers in a quiet, contemplative experience.

The influential, multi-disciplinary artist Roy Kiyooka was a painter, sculptor, teacher, poet, musician, filmmaker, and photographer. When Kiyooka arrived in Vancouver in 1959 he was already one of Canada’s most respected abstract painters. His commitment to modernism at the time inspired a generation of Vancouver painters to reach beyond regionalism. In the 1960s and 1970s, Kiyooka began to write and publish poetry and produce photographic works. The best known of these, Stoned Gloves (1971), is both a poetic and photographic project. As Kiyooka began to reject the Greenbergian modernist aesthetic that informed his earlier paintings, he increasingly took up performance, photography, film, and music. Up to his death in 1994, Kiyooka understood the position of the artist as being in opposition to institutions of art.