John Kilar’s ‘Life’ photograph series

John Kilar photography

John Kilar is a Los Angeles-based photographer. This is his statement:

These images represent the juxtaposition of the timeless and majestic elegance of nature’s sensory-surpassing miracles with the entangled and growing tensions of our time in culturally reconnecting with the shift away from the human condition of love.

In developing my visual perspective, I’ve discerned the fleeting significance from the invariable through emphasizing the growing collective disdain for the socially underdeveloped that has come to define our generation and crystallized over the last decade.

Through highlighting this generational discontent in honing its cultural responsibility of deconstructing traditional understanding of social roles against the unrefined purity of the emotionally captivating cycles of nature, my work serves as a middle ground to visually level and gauge the social progress of man by means of extremities occurring in class stratification.

In giving careful attention to the mediating filters that propagates socially-constructed irreverence, I aim to address the necessity of breaking down the symbolic paradigms of understanding to revisit the overlooked empathy for humanity and its greater accountability to each other.

John Kilar photography

John Kilar photography

John Kilar photography

John Kilar photography

agyness deyn John Kilar photography

John Kilar photography

John Kilar photography

  • rien de le monde

    As a silent narrative work, the artist’s ouvre offers a glimpse into the social dialectics that construct the language of art. Any selection of art will define, on its own terms, the stylized grammar that results from class tension and the will of power to subvert genuine struggle while at the same time offering a glimpse into the unmanaged consciousness that searches for meaning amongst the chaotic jumble of stigma, tropes, tenets, and tradition that isolate true community and mask the essence of a transient life genuinely informed by the austere beauty of nature’s wonder.

    By synthesizing this grammar with the truly transcendent–expression that reaches past mere human understanding–and merging it with the syntax created by the collision of color, theme, focus, and subject, the artist engages the viewer in a dialogue that, while gossamer, may capture the truth of a struggle to escape false-consciousness. Indeed, when distilled, art gives us a vocabulary by which we can identify truth without resorting to the crude ownership of names or the straitjacket of socially determined constructs such as beauty.

    Through these photos, we see clearly, if through our own lenses, into the essential heart of the photographer. The effluvia of sensation that reaches us is indicative of the enormous capacity that art endows to the artist, allowing the distiller–for art in this sense is truly a distillation of juxtaposing cultural sentiment that resonates in its own particular moment–to accept the nourishment of the world, process it, and return it to us in a solid form that we may instantly recognize, even should our eyes and ears be closed.

  • I would agree if not for the indirect referent. Unfortunately the “effluvia of sensation” in my opinion is given too much weight here. Better to credit studium/punctum interface, especially for the McDonald’s pix. Do these thoughts have a cyan cast or is it just me?

  • rien de la monde

    The thoughts are certainly cyan. The introduction of the Lacanian Other as a form of social obligation that stands astride the crack separating studium from punctum creates a very blue mood indeed. However, I take your point regarding the effluvia. Indeed, I misspoke, for in this case, the masticated product of social dysfunction–recorded in a brute cyclopsian fashion that gives no quarter to The Real as literal dictum–is not effluent so much as it is a processed exudate that streaks in ochres, umbers, and magenta.

  • Patty Rogers

    Am I reading English?

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