Night on Disco Mountain
- Alkyd on aluminum, custom software, computer, digital projection , 2018
44 x 96 in
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My grandfather attended the School of the Art Institute of Chicago and my father was a landscape architect, so I was around adults that both practiced and valued visual language. I’ve made drawings from an early age, and I always felt I would be someone that would make images. [Kluber received his BFA from the Rhode Island School of Design and his MFA from the University of Iowa.]
My sister is eight years older than I am, and in the 60s she had very pop-culture-inspired decorations in her room—bedcovers, drapes, pillows, clothes, album covers, posters, etc. Those wonderful, psychedelic colors and patterns left very important visual impressions on me.
Whatever is received is received according to the manner of the receiver—or is it?:
I have had a long interest in the color-field painters Kenneth Noland, Gene Davis and Morris Louis, as well as light and space artists James Turrell, Robert Irwin, Doug Wheeler, and Dan Flavin. They sought to dematerialize the art object. Their work diffused the luminous effect of color so that the boundaries of the frame and material substance seemed almost incidental to the perceived intensities of continuous color and light sensation.
The effervescence of efflorescence:
For my paintings I love fluorescent colors and to match them with traditional colors—to explore new relationships. The paintings are then paired with a custom digital projection. The result creates a new kind color space: the combination of subtractive color, the way we view a traditional painting—and of additive color. The mixture of red, blue, and green light of the digital projector.
Abstract’s pull on you:
It is visual form furthest away from language.
Abstract’s appeal to others:
They are compelled to access the part of their brain that contains no language but provides rich, complex, lasting visual information.
Midwesterner for life:
I live in Iowa. I grew up here. I have always felt free to make whatever kind of work that my knowledge, sensibility, and skill would allow. Whether or not that would have been different anywhere else I can’t say. [Kluber’s work, in and outside Iowa, can also be found in The Contemporary Austin, the Des Moines Art Center, the Portland Art Museum and the Figge Art Museum.]