Jeremy Kidd examines the potential for subversion of the man-made
with the organic, the biological, and the unexpected. His focus has
been to express non-adaptive evolution of the man-made. In this case,
non-adaptive refers to the evolutionary growth that takes place not as
the result of evolutionary necessity but as an expression and yearning
of unexplained natural forces; forces that wish to express themselves
not adaptively but reactively in an emotive manner.
These forces reveal themselves as adaptations that occur to biological
or architectural facades and take place as biomorphic aberrations or
deformities to their systematic surface patterns. Kidd's works serve as
both paintings and photography in the formal sense and as models for
civic/organic hybrids, a kind of evolutionary reconciliation or mutation
of man and nature. Utilizing a combination of digitally-manipulated
photography, painting and sculptural elements the artist juxtaposes
two conflicting worlds---man's ecologically hazardous practices and Nature.
His adaptations serve as a metaphor and commentary on the human condition -
the need for nature to express itself emotively through the man-made, man's
need to tamper, coerce and control nature. Here Gaia, the spirit of nature,
is beginning to tamper, coerce and control the man-made thereby redressing
the imbalance. Kidd suggests that there is an intelligence underlying nature
and it is intent on reclaiming and subverting. Kidd feels compelled to champion
nature's reactive attempts at reclaiming and expressing itself, believing
this is why he is motivated to create bifurcations in architectural structure,
utilizing the tradition of fractals in the chaos theory.
Jeremy Kidd's national and international exhibitions include: "UFO",
University of Colorado Springs and the State University of Illinois;
"Pop Surrealism" at the Aldrich Museum of Contemporary Art in Ridgefield,
CT; the 1999 Biennial at The Orange County Museum of Art in Los Angeles;
Laguna Art Museum, CA; Irvine Fine Arts Center in Irvine, CA; Deutsche Bank,
London; Caroline Wiseman Gallery, Atlantic Fosterart, London.