The magic of Kour Pour’s “Familiar Spirits,” his initially exhibition with Kavi Gupta, lies in its remedy of repetition. In 20-a single individual will work, the British-born artist presents and explores a solitary visible motif: the tiger. By a preponderance of distinct blacks and key hues laid on paper and uncooked cotton duck, we witness this magnificent creature in action and in repose, as one thing the two ferocious and flippant.
In spite of the title’s recommendation, there’s practically nothing diaphanous or ethereal about Pour’s tigers. They, like the paint that presents them lifestyle and variety, are agency and opaque. Rendered in the trend of common East Asian stylizations, they are accentuated by chromatic counterpoints that echo the uncomplicated colors of Miro and Mondrian. Pour achieves this concrete influence by a handsome blend of relief printing—carving an image into a pliable area these as wood or linoleum and covering it with pigment—and straight-in advance paint software: a content fusion of east and west. And while Pour’s official themes and technical tactic is unmistakably clear, their meanings are a lot more ambiguous.
About the class of the past 10 years, the artist’s imaginative apply has been driven largely by appropriation. In its postmodern sense, appropriation is a radical act. It productively destabilizes bourgeois notions of originality in an exertion to resist commodification and increase the feasible. In its modern sense, appropriation is usually preceded by the adjective “cultural” and it is leveled as an indictment.
Pour, and by extension his works, evade these expenses partly as a consequence of his standing as an immigrant, but principally as a final result of his desire in, and powerful use of, the idea of fostering. “Foster implies getting care of a little something that isn’t always yours. It implies nurturing a thing quickly in your care,” he states. For Pour, making use of photographs that aren’t one’s own is not visual or cultural piracy, it is a demand of responsibility.
Irrespective of whether in his software of Persian miniatures, Japanese Ukiyo-e, or as in the circumstance of the existing exhibition, Chinese and Korean tigers, Kour’s seriousness of purpose is exemplified by the multiplicity of will work on view. This is not some aesthetic smash-and-seize, but alternatively a sustained engagement with visible tips that undercut the notion that employing the imagery of other cultures is basic theft. Kour’s function shows us that no matter its ethnic or geographic origin, society is a approach born of reuse and repetition. And therein lies the magic. (Alan Pocaro)
“Kour Pour: Common Spirits,” via June 27 at Kavi Gupta, 835 West Washington.