Ian Kime is a fine artist focused on painting, performance, and installation and he wants to bring his unique viewpoint to Indy’s bourgeoning art scene. Noticing an upsurge of indie artistic talent around Indianapolis he decided to create an art space – Untitled #2827 – for local artists to display their work. Focusing on contemporary art, Kime hopes to the space will provide much needed exposure to little-known and up-and-coming artists. The gallery opens its doors for the first time this Friday, January 5th, 4-8pm with an exhibit by Alec Stewart titled A Thousand Winter Deaths (Pt.II).
Julie Valentine: Tell me a little bit about yourself and your background.
Ian Kime: I grew up in Indianapolis and attended St. Monica and Brebeuf Jesuit before studying Studio Art at Indiana University Bloomington. There I studied painting and art history with great teachers. From Eve Mansdorf and Tim Kennedy I learned how to see and to use my hands. From Tina Newberry I learned that seriousness could accomplish nothing without at least an equal dose of playfulness. From Caleb Weintraub and Tom Scicluna I learned about the contemporary art world and how to be a part of it. My greatest teacher was emeritus professor Barry Gealt who taught me everything I know about being an artist. I completed ¾ of my BFA before taking part in a partially grant funded artistic journey across the United Sates that saw me and fellow artist Heidi Wieland traverse the country as our artistic duo Cloud Preaser brought recess back to the masses in our unsolicited gift of giant P.E. parachutes. People from every corner of the country played with and colored on a dozen of these reminders of childhood. Cloud Preaser is what birthed my love of performance and installation art. Check out some of our past projects!
JV: What gave you the idea to open an art space and what kind of work do you represent?
IK: The idea to open Untitled #2827 was driven by a desire to keep alive and grow the strange and experimental scene that is possible in Indianapolis. We need resources for artists in this city to showcase and be witness to the unremunerated works of art that are so important to the contemporary art world. Not everything has a price tag. We are compelled to create, even when it is not an object to be bought, and we have to have an ecosystem here that is ready and willing to say “Yes, please, come do that here, we need it! Sit in front of a window and eat a can of beans, yell at a wall for four hours, scare me, make me feel something besides safe, have people judge you for what you are compelled to do! Please keep creating!” My favorite shows I have been to in the last year or so happen in the small homes of students where they feel free to explore their ideas without fear. I hope this trend continues, and I hope Untitled #2827 can add to their repertoire. Remember the grand music era of Indianapolis house shows? Let’s bring that feel back. That was fun; that was Indianapolis.
JV: What opportunities do you hope to provide to artists in the community? Why is this important?
IK: Untitled #2827 hopes to give artists working in the areas of conceptual, performance, and installation art a place to discuss their ideas and to showcase their works that exist in these spheres, even if their main medium is something different. I think it is important to saturate our city with more than just art objects. We need people fulfilling their artistic compulsions, and we need places to witness these compulsions on a regular basis. I hope to cultivate a small artist’s collective around these ideas to continue Untitled #2827 into 2019.
JV: What is “A Thousand Winter Deaths (Pt.II),” about and why did you select it as your opening show.
IK: The way in which Alec Stewart approaches graphic design intrigues me to no end. He navigates the relationship between fine art and graphic design in the contemporary world with an intense curiosity that borders the insane. The madness is even more evident in his sound work, which will also be showcased at the soft opening on January 5th from 4p-8p. I want to see how both of his worlds interact with each other in the same space. Showing his work first was a selfish act of my own design.
JV: What has it been like opening a gallery in Indianapolis and what response have you received back from the community?
IK: I am a shy person and I’m fairly certain that nobody besides a handful of people know about my plans to open this space in 2018. I’ll have to let you know how things go!
JV: What potential do you see in the creative community here and how do you hope to see it grow?
IK: The potential I see is rooted in the strange, the bizarre, the poor, and the dirty. I really believe the young people should be the focus here in this town. The students and just-post students should be looked at as the future and given respect and assistance. Will we as a city give them an ecosystem that allows them to develop as contemporary artists? Or will we let them disappear and move on to more fruitful cities that give them what they need? These artists have already figured out they have to do everything on their own here. They are opening their own galleries in their apartments and their homes, developing their own world, and slowly creating a vocabulary that is specifically Indianapolis. We have to follow them on their journey! One thing I do hope to see is more centralized areas of artistic ambition and more nights dedicated to the arts than just First Friday. Nobody can drive all around town in one night and see everything… Contemporary art round table at Untitled #2827 anybody?