chevrolet diesel perfume rolling amidst waves of petrichor
the warmth of cancháncharas and croquettes on sunsoaked cross-streets
opposed concrete plinths
quizzical fixations upon stenciled planes
18 and 27
a square with an x running through
Calle Dieciocho y Calle Veintisiete
(fields ruddy and jaundiced, and searing and ornate)
red and yellow and blue and black canton
buffeted in the gale
Xs become Zs
the pale of a springtime yet to arrive
greying miasma silencing the i-beamed enclave
blushed neons oscillate dimly over an opaque Arch
shotgun basement to the south
air: thick, wet, pressed
flushing and primordial
rattling percussion of red peas and pimento over a rolling boil
the sputter and trill of fat seized upon midnight irons
whispers of saccharine diesel under natural gas
fifty-seventh and K
Klaus von Nichtssagend is pleased to present Pairings, Kemar Keanu Wynter’s first solo exhibition with the gallery on view September 7 and running through October 23, with an artist reception on Friday, September 10 from 4-8PM. For the show, Wynter has created works on paper, made with oil pastel and graphite; each titled after food dishes and installed hanging from aluminum restaurant ticket holders.The works’ compositions are gleaned from the concrete street markers the artist observed on a trip to Havana, Cuba, acting as a formalist system of demarcating a location. Wynter inquisitively employs his recurrent double X form in an ongoing excursion through notions of reminiscence, vernacular and cookery.
“Each of these works is an exercise in cataloguing a life living” – K.K.W.
Kemar Keanu Wynter (b. Brooklyn, NY) holds a BFA from the SUNY Purchase School of Art and Design. His work was the focus of a recent solo exhibition titled Portions (Tiger Strikes Asteroid, Queens, 2021) and he has previously exhibited in several group exhibitions including Shining in the Low Tide (Unclebrother, Hancock, 2021), I Saw it Hang Down There (Bode Projects, Berlin, 2021) and Flavor Profile (Border Patrol, Portland, 2019). Wynter is currently on consecutive residencies with the ARoS Kunstmuseum in Aarhus, Denmark and AQB in Budapest, Hungary facilitated by Flux Factory, New York.