In Conversation with Kim Rose

In Conversation with Kim Rose

From the delicate balance of life and death to the exploration of using blood as a medium, delve into Kim Rose’s narrative as she shares the evolution of her career and the profound concepts behind “Born to Live''. Furthermore, the interview sheds light on Kim Rose’s unique approach of skillfully integrating technology, emotion, and nature into one harmonious blend. 

When did your artistic career begin? 

I have always loved art, but really started taking it seriously in my junior year in college. The true “beginning” I would say is when I saved up all my money for a little art studio. I paid for the first and last month, plus the security deposit, and said if I was able to sell my art and cover rent then I’d keep it. Since then I have only grown as an artist. 


Can you tell us more about the concept behind "Born to Live" and what significance it holds for you?

The show concept was inspired initially by my interest in balance and how it plays out around us. The concept of balance shows up in a lot of my work, and for this show the initial concepts were about the balance of life and death. Following that, I moved to blood and water and their symbolism in life. Death and what comes after has been an uncomfortable topic for me, and I have trouble talking about negative things. I am usually a very positive person, and like to avoid topics that make people feel sad in any way. When my mom passed away, I didn’t like talking about death with my friends or bringing it up because of the uncomfortableness of it. However, lately, I’ve become more comfortable with more negative feelings and emotions, and the part they play in our lives. Bad things happen. They are part of life. In some twisted way that is part of what makes life and our moments on this earth so beautiful. Each of us knows we will eventually die, and instead of staying away from things that made me uncomfortable I decided to go head on into these concepts and thoughts that made me uncomfortable. From this, I understood and realised how death is balanced out with life. How sweet life can be and how we can truly go out and live it. We weren’t born to just exist, but I think born to live full and happy lives. How? That’s probably something I’ll spend my entire life discovering, but I think that’s part of the fun. The journey and discoveries we can make allow us to taste the sweetness life has to offer us. 


How did you begin intertwining the world of art and data in your works?

I spent a year in NFT chat rooms and understanding the space before I was able to put something out. I wanted to wait until I could put something into the space I was very proud of. The caption here explains more. 

I spent a lot of time dreaming up what my art would look like in the digital world. I wanted it to be inspired by my existing work, but also have it push the boundaries of what was possible with technology.  Through many trials and errors in both concept and design, I finally came up with ideas that I felt were the most natural voice for my visions. Something that excited me. I finally came up with the concept of creating live art late at night. I remember grabbing my phone from my nightstand and writing down these ideas in my notes app. I have lots of them now. The design of using wet ink for my art was actually my initial idea, and after trying many different ideas, I realized that my first idea of using wet ink was the closest to my heart. It was the most natural. Whenever I paint, I love watching the ink dance. I was always mesmerized by it. In the same way as my existing paintings, this to me shows beautiful moments of controlled chaos. I was finally able to capture these movements and seamlessly loop them. 


"Born to Live" explores the beauty in life and death. Could you delve deeper into your perspective on what it truly means to be alive as expressed in your works?

I have always known that I’m not great with words, communicating through art is more effective for me. But what I think I can say is, these pieces are hugely inspired by nature and the intricacies of how incredible our world and bodies really are. I think natural elements are incredibly beautiful. My work is a controlled chaos, controlling these elements to the best of my ability and then just allowing the medium (whether it be ink, blood, resin) to do the rest. There is a natural flow in all my works, and with this process I can never recreate two pieces, no matter how hard I try.  


Your work shows us that data is not just a tool for analysis but a wellspring of inspiration. How do you approach data as a source of creativity in your artistic process?

My goal is to push the boundaries of what technology can do for the purpose of my art. I aim to dream up ideas that show a harmony of my art and the data being used to tell the story I want. 


As viewers engage with your works, what message or experience do you hope they take away from "Born to Live"?

I hope they take whatever message they need from it. I hope it makes them think deeper and strive to live a better life as a result. 


Data is often associated with numbers and analysis. How do you use data as a medium to evoke emotions and provoke contemplation in your audience? 

By connecting it to art that it represents. 


What role do you believe art plays in helping us make sense of this data-driven world?

For me it makes things more understandable. I learn much better by looking at something than reading something or looking at numbers.  


Your decision to replace ink with your own blood is an innovative and bold artistic choice. Can you walk us through the creative process and emotions behind this decision?

The concept behind this piece sparked the theme of "Born to Live". Most of my ideas have been written down in my journal. However, very few ideas have made my heart race, made me sweat, and this one in particular, made me crawl up into a ball. Lately, the ideas that scare me a bit have been hard to get out of my head. Later journaling what it meant to me, I cried. I still think this piece can make me cry if I sit and think about it too deeply. 

It was a strong reaction, I had to create the piece I wrote about. 

I have always hated blood. Growing up my mom said I had such a steady hand, I should be a surgeon. I would always laugh and know I couldn’t ever consider it because the thought of blood alone makes my skin crawl. But I couldn’t think of anything more precious and life-giving than blood. How it represents life and death all together. How powerful it would be to create with. Three of the NFTs in my show were created with a mixture of my blood and poison. The mixture created some of the most beautiful movements I had ever seen. Something I once thought of as horrifying now became mesmerising. It moved very differently from the paints and inks I’ve used before. It felt more alive. So, as these NFTs age, they get slower and darker. They then go black and die at the end of 100 years. After that, they glow gold for 9 months and then are reborn. We most likely won’t see this part, but our surviving generation will. 


The remastered video loops of your wet inks in Zurich's evolving NFTs offer a mesmerising visual experience. Can you elaborate on the technical and creative challenges you faced in translating the organic flow of your inks into digital art while maintaining the connection to weather conditions?

My NFT, “Zurich” is alive and connected to the time and weather in Zurich, Switzerland. For example, on a calm sunny day, the piece appears bright and calm. On a stormy night, the piece appears dark and active. From a technical side, it is a lot of trial and error, both in me physically pouring and recording the paints and in having my engineer design the code. It’s a lot of repeating movements to find something I like, and a lot of time editing in Premiere Pro. The process can be tedious and expensive, but like with all my art, I think the process is very worth it and pays off in the final result. 

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