MY BOOK IS AVAILABLE NOW!!(via blurb.com)

Softcover                     US $33.84   
Hardcover, Dust Jacket US $46.34
Hardcover, ImageWrap US $49.64

ORDER BY CLICKING THIS LINK
www.blurb.com/bookstore/detail… Particulae ex Nihilo

This Album contains a portfolio of Gromyko Padilla Semper's Selected Ink drawing,with an Introduction by acclaimed artist and book author, John Paul Thornton</B>

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ABOUT GROMYKO:

"Gromyko Semper is a young artist who stands at the crossroads of two realities: One is grounded in a tradition of high cultural metaphor, while the other is a sensual dream world of feverish risk. He does not dabble in either, but instead bounds into both simultaneously. His comprehension and connection to the great religious and historical visual languages of the world is nerve-rattling to viewers because it is so concise, and he reminds us that, when used properly, the symbols and stories of the past do not sleep in volumes of dusty books, but boom with terrible, matter-of-fact authority, like a gun of truth.

"Unlike artists from previous contemporary generations, he does not speak the language of ancient fable out of irony or desperation, but out of sharpened passion and even out of love. And then, Gromyko rejects the purely classical tongue as quickly as we recognize it. It becomes infused with the aura of metaphysical science, kaleidoscopic incantation and blasphemous zeal. The crossroads is never resolved. We are compelled to take both roads with him at once. We find that reality is never fully tangible and dreams manifest as incontestable.  

"These are not tricks of craft, but deliberate, passionate and ever-flowing assaults on the mundane. Gromyko sings to us that the entire human experience is ours to drink, all history is now ours to bathe in, all visual textures of heightened complexity are ours to feed upon. As viewers, we cannot help but take his outstretched hand."

- John Paul Thornton,2009



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I am included in Jon Beinart's surreal Art Collective...

click my page here--->beinart.org/artists/gromyko-pa…

Sacrae Particulae Ex Nihilo
The Inspired Visions of Gromyko Semper

Vicente-Ignacio S. de Veyra


Going across a gallery full of Gromyko Semper ink/watercolor paintings and drawings (with his few oils) can be likened to listening to early Uriah Heep or some such old progressive rock music with all their fantastic abandon and iconoclastic humor possible. But, for now, we can’t be sure if Semper is merely an intelligent humorist, a happy/hermetic fantasist or a serious iconoclast.

In his first major solo show after so many group shows, Semper falls for the title The Minotaur’s Recompense (opening October 23, 6pm, at the Kulay-Diwa Gallery of Philippine Contemporary Art, Parañaque City). Sure, the show title is a tribute to The Soothsayer’s Recompense by Giorgio de Chirico, one of the stalwarts of proto-Surrealism. But the title betrays a Semperian love/hate relationship with mythology which is precisely what the anatomy of iconoclasm consists of. For iconoclasm, whether in imagery or the literary field, is actually a mission to supplant an existing religious hegemony for the facility of presenting alternative cosmic attachments. And so iconoclasm, while being a war effort, is also a display of that love/hate relationship with mythology. So, bearing that in mind, Semper—as a young Filipino exemplar in neosurrealism and visionary art—cannot be simplified as a mere parody artist with an abominable patience for imagery details but is in fact a religious mythologist himself. For, never forget, visionary art is its own mythology already. Like the old dada art and original surrealism, neosurrealism and visionary art are both old/new drugs that worship a Zen koan-like heaven, which is really a simple absinthe-afternoon heaven of complex juxtapositions.


The Minotaur’s Recompense

Semper As Per Iconoclasm
We’re not talking about the iconoclasm of destruction, of course, but the one more suited to our time and the artist’s profession—and that’s the type that appropriates, twists, and finally destroys the icon by emulating the snake that eats another snake to make that eaten snake this living renewed snake outside.

Semper’s art pieces aren’t lovely as a hare’s portrait, that’s obvious, but are snake-like in their charm. They actually appropriate religious and other humanist mythologies via their iconographic imagery and instantly parody (or generously twist) these. And the way Semper parodies ‘em all! He actually enters the art of iconography, goes through the religiosity of ceremonious patience in creating details, as if he were one of those craftsmen called by the mughal to decorate the Taj tiles or by the Jesuits to Mexicanize Santa Maria Tonantzintla Church’s ceiling.

And this is precisely where a Semper can go beyond being merely charming and become quite a delight. Because you religiously go through the details with the artist, examine with him each Breughelian serpentization of a scepter, each demonization of an immaculate virgin to expose her false demigoddess-ness in a gallery collective of false demigod-ness. And here is our signal to ask: Is Semper’s imagery a product of some heavy metal pseudo-Satanism or of a serious Hieronymus Bosch-ness (were Bosch a Reformationist)?

The answer to this question will vary, of course, from gallery visitor to another, from critic to critic. For each Semper piece is a potential conversation piece, provoking conversations which can snake their way into historical alluding, quoting, complicit denigrating as well as faithful defending. And that can only be so because in all their Albrecht Durer-like complexity, Semper’s detailed ink composites are in effect war sermons of disgust with the human history of religious iconographic lies and semi-lies.

Baroque Sempernoza
But forget for the moment that Semper was the first Filipino to be invited to participate in Keith Wigdor’s (and the International Surrealist Movement in the 21st Century’s) international Surrealism Now exhibit in Coimbra, Portugal. Or that before he went there in May of this year he co-edited with Héctor Pineda the book Imagine the Imagination: New Visions of Surrealism, published in Poland in 2009 by nEgoist Sp.z.o.o., with him writing the Introduction to the book. And of course he was one of the artists included in that anthology, joining a select 100 international surrealist/visionary artists, famous and unknown, working in the genre today.

Now the question might be asked: why would anyone in this religious country given to baroque Marian art be attracted to invest in a Semper of a seemingly new Filipino Enlightenment? Why would local galleries even be enthused to have him? Well, perhaps that’s the point. If Jose Saramago wasn’t Portuguese, his literary iconoclasm wouldn’t mean anything, would it? Yet, in the Catholic city of Lisboa, Saramago’s “anti-Christian” books had been commercial successes, the earlier one helped perhaps by his exile, the latter helped by the media focus on the Laureate’s newfound notoriety.

A Catholic country is the perfect, nay the logical, market/audience for new anti-religious or anti-humanist iconoclasm. Sempers can actually decorate a restaurant’s corners, emitting both decorative values as well as intelligent informed symbologies among dining historians, semioticians, and some such group of Filipino intellectuals.

So,…I mentioned heavy metal sensibilities (sans the airbrush) as well as intellectual freethinking ones. But beyond those circles and the esthetic formalist, is there another audience for Semper’s Voltairean titles? Oh yes, of course—there’s the J.R.R. Tolkien fan, the literary fan of archaic myths, as well as the ardent admirer of craftsmen’s patience. And, lastly, the investor in difficult craft who may care little for the fact that not all complex craftsmanship is intelligent art.

Semper Fidelis
That’s our signal. Now let’s examine Semper’s intelligence beyond the craft.

In his fidelity to details as well as to the exactitude of his titles, all in the hope perhaps of arriving at Umberto Eco’s “closed text” level for a more universal reading, Semper’s pieces are not simple book illustrations material however. While “Our Lady of Perpetual Abandon” is classic transparent parody, for instance, “Eulogy to Melancholy (Whose Tormentors Appear Before Pleroma)” is a semiotic field that could allude to as many significances as one can muster—one of which could be an allusion to Napoleonic self-crownings sanctioned by divine authority. “Paracelsus Preparing the Sacrae Particulae Ex Nihilo,” meanwhile, could be an homage to the Renaissance alchemist’s magic, as if Paracelsus is one of surrealist/visionary art’s inspirers. And while “Hecate, Anubis, Consus” may be deemed a subtle bow to Hieronymus Bosch panel paintings qua literary narrative-cum-satire, only this time using Roman gods instead of Christian ones, “The Hermetic Fool” might be read as both a sneer and a tribute portrait. And while “The Vessel of Balaam” goes beyond parody to wax loud mockery, “Circe’s Ventriloquy” skips loud parody to subtly portray a heroine/villain as a good/evil motherly lady with leprous hands.

So, there you are. It’s not as though the sacrae particulae of Semper-headedness came ex nihilo. And that intentionality is precisely what separates neosurrealism from good ol’ automatist surrealism. [V]

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the event here:

www.facebook.com/event.php?eid…

www.kulay-diwa.com

themystic.posterous.com/gromyk…

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THE MINOTAUR'S RECOMPENSE

Time : Saturday, October 23 · 6:00pm - 9:00pm

Location Kulay-Diwa Gallery of Philippine Contemporary Art 25 Lopez Avenue, Lopez Village,Sucat Paranaque City, Metro Manila 1700 Philippines


Gromyko Semper

new works drawings and paintings

opening Reception:
October 23rd
Saturday
6pm...

The show will run from OCT 23-NOV 23 2010

I HOPE YOU ALL CAN MAKE IT
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some works that will be in the show:

A Journey into the world of Kris Kuksi
An Interview with Kris Kuksi by Gromyko Padilla Semper









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KRIS KUKSI AT WORK

Many of us have laid our eyes at and admired the majestic works of the master Visionary Kris Kuksi...But very few of us had the oppurtunity to talk with him, or even chat with him...He appeared in our generation as a totem of hope that "surrealism" never died!!!

and he personally declared that: Surrealism will never die. It is a part of the human mind to be engaged with surreal thoughts and visions.


In his website the Introduction stated clearly what Kris Kuksi is about:

Kuksi’s art speaks of a timelessness–potentiality and motion attempting to reach on forever, and yet pessimistically delayed; forced into the stillness of death and eternal sleep. He treats morbidity with a sympathetic touch and symbolizes the paradox of the death of the individual by objective personification of death. There is a fear of this consciousness because it drops in upon us without mercy, and yet there is a need to appeal to it in order to provide a sense of security, however deluded that sense may be. Kuksi’s art warns us that this appeal is irrelevant, and that we should be slow to create a need for it. His themes also teach us that although death may pursue us arbitrarily, we should never neglect to mourn the tremendous loss of individual potential.*


*<courtesy of kuksi.com>

And we couldn't help but Agree!!!

his Art is timeless and yet it speaks to contemporary culture...with his use of gothic and baroque imagery married with an ever imaginative surreal vision, Kukis's pieces shall cast an ominous riddle on our minds, the eternal question about who we are, what are we, where are we going...and this Kuksi heralds in his works!!!

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Born March 2, 1973, in Springfield Missouri and growing up in neighboring Kansas, Kris spent his youth in rural seclusion and isolation along with a blue-collar, working mother, two much-older brothers and an absent father. Open country, sparse trees, and alcoholic stepfather, perhaps paved the way for an individual saturated in imagination and introversion. His fascination with the unusual lent to his macabre art later in life. The grotesque to him, as it seemed, was beautiful. Reaching adulthood his art blossomed and created a breakthrough of personal freedom from the negative environment experienced during his youth. He soon discovered his distaste for the typical American life and pop culture, feeling that he has always belonged to the ‘Old World’. Yet, Kris’ work is about a new wilderness, refined and elevated, visualized as a cultivation emerging from the corrupt and demoralized fall of modern-day society. A place were new beginnings, new wars, new philosophies, and new endings exist.

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In personal reflection, he feels that in the world today much of mankind is oftentimes frivolous and fragile, being driven primarily by greed and materialism. He hopes that his art exposes the fallacies of Man, unveiling a new level of awareness to the viewer. His work has received several awards and prizes and has been featured in over 100 exhibitions in galleries and museums worldwide including the Smithsonian’s National Portrait Gallery. Kris’ art can also be seen in a number of international art magazines, book covers and theatrical posters. Kris’ art is featured in both public and private collections in the United States, Europe, and Australia that include individuals such as Mark Parker (Nike CEO), Kay Alden (three time Emmy award winning writer for Young and the Restless & Bold and the Beautiful), Fred Durst (musician, and film director), and Chris Weitz (movie director The Golden Compass & American Pie).*
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In an attempt to get to know him more better and much more plainly and simply i gathered my guts and approached KK via the social network facebook...i sent him a message and he galdly responded...we shared some long and witty chat messages with each other, and being an avid fan of his work i was curious to know more of him so i decided to ask if he will be willing to do an interview...he complied, and this is the result of that...

It is really my priviledge, or must i say Honor to have been given the oppurtunity to be able to interview him.. Kris Kuksi is truly a Modern Master of our Age.. With patience, perseverance, and Genius, KK is destined to be one of our era's greats!!!

With that in consideration, im glad to have been able to know him, even if by cyber means thru the internet...perhaps one day our paths will cross

In the meantime I want you all to read and learn from what he has to say...

enjoy the words and works of KK!!!


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Gromyko Semper: Hi Master Kuksi, let me say that it is a huge priviledge and honor to have this interview with you...

KK: Thanks and i really appreciate it...nice

Gromyko Semper: Let us begin then...

KK: Go on


Gromyko Semper:Can you Tell us something about yourself, your background and how you began to recognize your talents.

Kris Kuksi: Ever since I was very young I always drew pictures or occupied my time with being creative. I had realized that I could out-draw all the other kids in grade school, so I was gaining some pretty good confidence in my early years. And that eventually went on to be recognized by several teachers that placed me in upper level art classes.

GPS: When did you first become interested in sculpture/painting/drawing?

KK: Drawing is what I did for the first several years of my life, then around age 12 I got into painting and went off to college and got two degrees in painting. And yet the sculptures didn't really start until 2004, although I have done a few in the mid 90's for fun.

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GPS: Where did you draw inspiration in creating your ART?

KK: Inspiration for me is derived from the Baroque and Gothic style architecture and I try to marry that with the modern world of industrial structures and design. But overall there is social commentary that I am after and so I do draw a lot of ideas from society and philosophy.

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GPS: Looking deeply in your Art, can you tell us what is it you wish to impart or share with the viewers? The meaning/message of your works?.

KK: That mankind is sometimes not so kind. That we should really look at ourselves and see that we are who we are and that includes the not so nice things. But we should at least see ourselves and those who can change our behaviors for the better.

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GPS: Can you give us a glimpse on your work methods, how long does it take your works before being done, and some alchemic secrets in the craft?

KK: Well, I start with sketches and ideas that randomly appear and then proceed to find ways to bring about the vision with all the parts I have. I use mostly model kit parts and various collectables to achieve what I must. There is a lot of reshaping and cutting and fine tuning of every single part to get the exact look I'm after. There is a phrase called "Kit-bashing" in fine scale modeling that comes close to it. But no, I don't use any such alchemic methods...but I'm open to the idea!

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GPS: Which of your works could you consider a masterpiece and why?

KK: Hmmm...I think most of them are masterpieces. I don't know if I have a real favorite but I certainly like "An Opera for the Apocalypse" and "A Tribute to the Madness of Beethoven". These works capture a mood, emotion, or even a rhythmic quality that make them timeless. And it is interesting that they both deal loosely with music and composers.

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GPS: What can you say about the current sate of the ARTS, particularly the surreal/fantastic/visionary genre, and how your art relates or communes with this?

KK: Surrealism will never die. It is a part of the human mind to be engaged with surreal thoughts and visions. Certainly I believe that I have contributed to this genre and given a whole new aesthetic to sculpture and design. It will be interesting to see what will happen in the future and how my work will morph and develop.

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GPS: Do you think you are confident with the current state of your works? I mean is there more to learn for a master such as yourself?

KK: There is always room to learn. I accept challenges as often as I can. Surely there are many more ideas to be explored and many years to invest time and effort in doing so. But hopefully life will pave a way for me to to do so until I die.

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GPS: What can you advise aspiring artists, such as myself with regards to creating ART?

KK: Never give up and always stay true to your ideas and feelings. Don't copy others, stay focused and mentally clear. And again, never give up.

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The Imminent Utopia

GPS: where is Kris Kuksi going now?

KK: Off to bigger and better things...with a few modest sized works in between.


GPS: Any final message my friend?

KK: To those reading this, don't let yourself down, don't be a victim in any way to others or yourself, and relax and make art. Don't place anyone or anything on a pedestal, because we artists like to do that, and again-never give up!

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Complete CV:

Curriculum Vitae
Exhibitions

Upcoming
    Shooting Gallery, San Francisco, April 2010
    Scope Art Fair, Basel Switzerland, June 2010
2009
    “Scope Art Fair”Art Basel, Miami, Florida, December (Group)
    “Beast Anthology”Joshua Liner Gallery, New York, New York, November (Solo)
    “Steampunk”Museum of the History of Science-Unversity of Oxford, Oxford, England, October-February (Group)
    “The 13th Hour”Last Rites Gallery, New York, New York, October (Group)
    “Carnival of Fires”Gallery 5, Richmond, Virginia, October (Group)
    “The Blab Show”Copro-Nason Gallery, Santa Monica, California, August (Invitational)
    “Kansas Master’s Invitational”Strecker-Nelson Gallery, Manhattan, Kansas, August (Group)
    “Monster?”Copro-Nason Gallery, Santa Monica, California, July (Group)
    “Summer Group Show ‘09”Stolen Space, London, England, July (Group)
    “Divine Invasion”Meta Gallery, Toronto, Ontario, May-June (Solo)
    “Overdose”Copro Nason, Santa Monica, California, April (Group)
2008
    “Scope”Art Basel-Miami, Miami, Florida, December (Invitational)
    “Imminent Utopia”Joshua Liner Gallery, New York, New York, November-December (Solo)
    “New Works”Shooting Gallery, San Francisco, October-November (Invitational)
    “The 13th Hour”Last Rites Gallery, New York, New York, October-November (Invitational)
    “Mapmakers”Meta Gallery, Toronto, Ontario, September-October (Invitational)
    “Paradise Lost”Williamsburg Art & Historical Center, Brooklyn, New York, September (Invitational)
    “Locked and Loaded”Joshua Liner Gallery, New York, New York, April (Invitational)
2007
    “Art Basel-Miami”Miami, Florida, December (Invitational)
    “Illusions of Reality”Strecker-Nelson Gallery, Manhattan, Kansas, September (Invitational)
    “Salon Macabre”Strychnin Gallery, New York, New York, July (Invitational)
    “Cologne Liste”Cologne Art Fair, Cologne, Germany (Juried)
    “Four Play”Lineage Gallery, Philadelphia, Pennsylvania, April-May (Invitational)
    “Oblivion”Strychnin Gallery, Berlin, Germany, April-May (Invitational)
    “Dark Hearts and Broken Vows”Strychnin Gallery, New York, New York, February (Invitational)
    “Winter Faction”Lineage Gallery, Philadelphia, Pennsylvania, January (Invitational)
2006
    “Faculty Art Exhibition”Moss-Thorns Gallery of Art, Hays, Kansas, December (Invitational)
    “Be Angel, Strange”Grand Palais, Salon Comparaisons 2006, Paris, France, November (Invitational)
    “Be Angel, Strange”International Fantastic Show Chimeria 2006, Sedan, France, October-November (Invitational)
    “Up!”Lineage Gallery, Philadelphia, Pennsylvania, July-August (Invitational)
    “The Outwin Boochever Portrait Competition Exhibtion”Smithsonian National Portrait Gallery, Wasington, DC, July-February 2007 (Juried)
    “Flights of Imagination”H.R. Giger Museum-Chateau St. Germain, Gruyères, Switzerland, June-July (Juried)
    “Person to Person: A Group Figurative Exhibit”Strecker-Nelson Art Gallery, Manhattan, Kansas, June-July (Invitational)
    “Old Master’s New Visions Seminar Exhibition”The Alte Stadthalle Galleries, Veichtach, Germany, June-July (Invitational)
    “Contemporary Mandalas”Chapel of Sacred Mirrors-Microcosm Gallery, New York, New York, May-June (Invitational)
    “Inter-dimensional Art Movement”Gallery of the Senses, Seattle, Washington, May-June (Invitational)
    “Smoky Hill Art Exhibition”Hays Arts Center, Hays, Kansas, May-June (Juried)
    “Non-Representational On-Line Exhibition”Art-Exchange.com, March-April (Juried)
    “Juxtaposition On-Line Exhibition”Artrom Gallery, Rome, Italy, March (Juried)
    “8th Annual All Media International Juried Online Art Exhibition”Upstream People Gallery, Omaha, Nebraska, January (Juried)
2005
    “Annual Artrom Gallery 2005 International On-Line Competition”Artrom Gallery, Rome, Italy, November 2005 (Juried)
    “Tetanus”Fahrenheit Gallery, Kansas City, Missouri, October-November 2005 (Invitational)
    “Annual Faculty Art Exhibition”Moss-Thorns Gallery of Art, Hays, Kansas, October 2005 (Invitational)
    “What is Freedom”Gallery of Social and Political Art, Boston, Massachusetts, September-October 2005 (Juried)
    “Old Master’s-New Visions Art Exhibition”Das Alte Rathaus, Viechtach, Germany, July-August 2005 (Invitational)
    “Inter-dimensional Art Movement”Gallery of the Senses, Seattle, Washington, May-June 2005 (Invitational)
    “Fantastic 2005: International On-line Exhibition”Artrom Gallery, Rome, Italy May 2005 (Juried)
    “Contemporary Drawings”Fraser Gallery, Washington D.C., February-March 2005 (Invitational)
    “7th Annual All Media Juried Online International Art Exhibition”Upstream People Gallery, Omaha, Nebraska, January 2005 (Invitational)
2004
    “Beyond Boundaries: International on-line competition and Exhibition”Artrom Gallery, Rome, Italy, November (Juried)
    “The Strange and the Fantastic”Leedy-Voulkos Art Center, Kansas City, Missouri, September-October (Solo)
    “Fantastic Visions”Limner Gallery, Phoenicia, New York, September (Juried)
    “Art Visionary Exhibition”Ballarat Regional Gallery, Ballarat, Australia, August (Invitational)
    “Just a Taste”Monarch Sculpture Park, Olympia, Washington, July (Group)
    “Inter-dimensional Art Movement”Gallery of the Senses, Seattle, Washington, May-June (Invitational)
    “The Great Passage”Optic Nerve Arts Gallery, Portland, Oregon, April-May (Solo)
    “Art Visionary Exhibition”Manning Regional Art Gallery, Taree, Australia, March-April (Invitational)
    “Art Visionary Exhibition”Riddoch Art Gallery, Mount Gambier, Australia, April-June (Invitational)
2003
    “Grave Matters”Roc La Rue Gallery, Seattle, Washington, October (Group)
    “Brave Destiny Grand Surrealism Show”Williamsburg Art & Historical Center, New York, New York, September-November (Juried)
    “Art Visionary Exhibition”Orange County Regional Gallery, Orange, Australia, August-September (Invitational)
    “Painting in Dali’s Garden-Seminar Exhibition”Villa Arenella, Cadaques, Spain, July (Invitational)
    “Art Visionary Exhibition”Global Arts Link Ipswitch Regional Gallery, Ipswitch / Brisbane, Australia, June-August (Invitational)
    “Figure Paintings”The Fraser Gallery, Bethesda, Maryland, June (Invitational)
    "The Mythic Quest"www.dracoblu.com, May (Juried)
    “Inter-dimensional Art Movement”Gallery of the Senses, Seattle, Washington, May (Invitational)
    “Spring Salon International Exhibition 2003”Limner Gallery, New York, New York, May (Invitational)
    “The Within”The Fraser Gallery, Washington, D.C., April-May (Solo)
2002
    “National Fall Exhibition 2002”Impact Artists Gallery, Buffalo, New York, November (Juried)
    “The Dreamer and the Dreamed”www.dracoblu.com, August (Juried)
    “Artists in Action”Garden Art Center, Lubbock, Texas, August (Juried)
    “Old Masters New Visions”Castle Kuenburg, Reichenau, Austria, August (Invitational)
    “Northern National Juried Art Exhibit 2002”Nicolet Area Technical College Art Gallery, Rhinelander, Wisconsin, July-September (Juried)
    “Toward the Within MFA Exhibition”Moss-Thorns Gallery of Art, Hays, Kansas, April-July (Solo)
    “Fifteenth Annual International Exhibition on Animals in Art”Veterinary Medicine Library, Baton Rouge, Louisiana, March-April (Juried)
    “International Drawing Exhibition 2002”University of Hawaii at Hilo Campus Center Gallery, Hilo, Hawaii, January-April (Invitational)
    “Art of the Imagination Exhibition”Cork Street Gallery, London, England, February (Juried)
    “Emerging Artists 2002 International Exhibition”Limner Gallery, New York, New York, February (Juried)
    “Seven State Biennial”Leslie Powell Art Gallery, Lawton, Oklahoma, January-March (Juried)
    “National Oil and Acrylic Exhibition”St. Louis Artist Guild Gallery at Knoll Park, Clayton, Missouri, December 2001-January (Juried)
2001
    “Seven State Biennial”University of Science and Arts of Oklahoma Art Gallery, Chicksha, Oklahoma, October-December (Juried)
    “Northern National Juried Art Exhibit”Nicolet Area Technical College Art Gallery, Rhinelander, Wisconsin, July-September (Juried)
    “32nd Annual Smoky Hill Art Competition & Exhibition”Hays Arts Center, Hays, Kansas, April (Juried)
    “Visions Across Continents”Santa Repararta International School of Fine Art, Florence, Italy, May (Invitational)
    “Fourteenth Annual International Exhibition on Animals in Art”Veterinary Medicine Library, Baton Rouge, Louisiana, March (Juried)
    “Emerging Artists 2001 International Exhibition”Limner Gallery, New York, New York, February (Juried)
2000
    “Juried Art Exhibition 2000”Carnegie Center for the Arts, Dodge City, Kansas, November (Juried)
    “Art from Recycled Materials Juried Exhibition”Sternberg Museum of Natural History, Hays, Kansas, May (Invitational)
    “3rd Annual Juried National Art Exhibition”Baker Arts Center, Liberal, Kansas, January (Juried)
    “Graduate Student Exhibition 2000”Garden City Community College, Garden City, Kansas, March (Invitational)

Awards

2006
    “Smoky Hill Art Exhibition”Cash Award, Hays Arts Center, Hays, Kansas
    “Smoky Hill Art Exhibition”Juror’s Merit Award, Hays Arts Center, Hays, Kansas
    “8th Annual All Media International Juried Online Art Exhibition”Award of Excellence, Upstream People Gallery, Omaha, Nebraska
2005
    “Who’s Who in America: 60th Diamond Edition”published by Marquis Who’s Who, New Providence, New Jersey
    “Fantastic 2005”First Place Award, Artrom Gallery, Rome, Italy
2003
    “Brave Destiny: Grand Surrealism Exhibition”Award of Merit, Williamsburg Art and Historical Center, New York, New York
    “Direct Art Magazine”First Place Award, Slowart Productions, New York, New York
2001
    “Angel of the Arts Prize”St. Louis Artist’s Guild, Clayton, Missouri

Interviews and Features

2008
    “The Everywhere Collector”Juxtapoz #93, October
    “Kris Kuksi”Juxtapoz Blog, March
2007
    “Basel Tov”Miami Sun, December
    “Art of the Grotesque”Dark Roasted Blend, October
    “Featured Artist”Eternal Vigilance, July
    “beinArt Interview”beinArt, May
    “What You Don’t Know About Kris Kuksi”Don’t Panic
    Artzine #12
    Hi-Fructose volume 5
2005
    “Direct Art”volume 11, Spring/Summer
2003
    “Direct Art”volume 8, Spring/Summer
2002
    “Direct Art”volume 7, Fall/Winter
2001
    “Direct Art”volume 5, Fall

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will also be featured in the latest project of

the book IMAGINE THE IMAGINATION: NEW VISIONS OF SURREALISM

Mature Content

Album available at www.shop.negoist.com

The book aims to show the variety of contemporary surreal art including 100 works in different media: traditional painting and drawing, digital painting, fractals, photomanipulation, photography, mixed media, sculpture, traditional prints, and more.

The collection will be classified in 3 groups: Visions, Dreams and Nightmares, all this mental manifestation has been the source of inspiration for this revolutionary movement since the 1920s.

The mind gates are open to explore the deepest of the subconscious in this visual dialogue with the “other”, in the omnipotence of dream, in the disinterested play of thought.
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Editor: Héctor Pineda
Co-editor: Gromyko Semper.
Introduction by: Gromyko Semper
Poetry by: Anthony Mason
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Interview by

Much thanks to Kris Kuksi for his kindness and wittiness!!!


visit KK at his website: www.kuksi.com