KJ Andres



as of 03/01/16


The Ancestry of Objects 2016

The Temporary Archive of Ambiguous Architecture 2012-2015

Automata for Colour I, II, III 2010-2014

Olfactory Map of populus, Wundergarden 2011

The Committee 2012

The Extraterrestrial Botanist,

>>Plant Signalling 2014

In Search of QRebra Plant 2013

Culinary Cultures 2010 with >>

Edible Companion

Finally, We Hear One Another 2008

Flock 2008-2010 I >>II

Timepieces & Tropisms 2010

My Perfect Life Keeps Leaking into Your Perfect Life (2010)

Disco for Darwin...2010+

Animated Landscapes...2010

Urban Habitat Lab 2007-2009 >>I, >>II, >>II.5 >>III

Plants and People 2011

Agar Agar Architecture 2011

The Grafting Parlour 2009


kelly andres

kelly andres

Detail, The Temporary Archive of Ambiguous Architecture 2012-2015, VideoPool, Actuel Contemporary, Winnipeg, MB, 2015.

  kelly dot andres at gmail dot com  


kelly andres


  kelly andres      

still...life from kelly jaclynn andres on Vimeo.


3dsketch from kelly jaclynn andres on Vimeo.


Ancestry of Objects from kelly jaclynn andres on Vimeo.

Zebra Trees, In Search of Chimera - ongoing kelly andres      

By documenting growth and transition within the properties of different materials and their inherent state transitions, I create installations, performances and documents that refer to duration1 – the “life” or the ephemeral quality of objects in their multiple relations to other entities. Through an incorporation of dynamic materials, I attempt to engage a dialogue between the performativity of “things”, while setting up a framework for experimenting with concepts related to cyclical processes, repetition and overlap, becomings and transient documents. Recent sculptural installations such as the Automata's for Colour (I-III, 2010-2014), the The Temporary Archive for Ambiguous Architecture (2012-2015) are continuously changing form and are purposely unstable; flows and leakages; growth and decomposition; the materials and the structures are in perpetual conversation. The physical transitions within the work are captured through various time-based mechanisms such as photographic time-lapse, ink residues, or evidence of biological growth that record traces or effects of one material actant onto another.

My process often involves an appropriation of materials and techniques that I acquire from an unfamiliar discipline; current influences are from botany, rapid prototyping, and Goethe's theory's of color and plant metamorphosis. My projects interweave select techniques (for example micropropagation such as tissue culturing or injecting mycelium into a sculptural substrate, hydroponic equipment and techniques in sculpture, building a 3D printer in a responsive and emergent installation, the use of electronics for human interactivity) into an aesthetic form of amateurism to question knowledge acquisition, the role of the generalist, and techne. I am attracted to materials that decompose, gradually breakdown, or synthesize, thus encouraging compositional and material transitions.

With a focus that has shifted to (non)human subjects, these concepts are further integrated within a trajectory of performance using systems, structures, and rules. In an exploration of other life forms, specifically in reference to biological entities that are part of an everyday environment, I seek openings related to the sensorial – these works begin to question human INTER-connectivity and the types of experience or knowledge that could be formed by incorporating different modalities of life into artistic frameworks.In recent artworks, these ideas continue to expand through an exploration of alternative durations and communicative realms, and in projects or activities that can increase possibilities for interdisciplinary encounters and knowledge exchange.

My work intermingles ecology and energies; from living cellular species such as plants and micro-organisms; from electronic mediums such as radio waves, electrons, and photons, into forms of interactive installations and performances for specific social and geophysical sites. My PhD project is focused on critical plant studies and new materialism, exploring plant to human relationships through concepts such as extraterrestrial gardening, rogue "systems" and autonomous environments, edibles and performance, and rapid prototyping with dynamic materials2.

1I am interested in exploring Bergson's concept of duration from the text Creative Evolution, 1911. In the first chapter Bergson writes: For our duration is not merely one instant replacing another; if it were, there would never be anything but the present – no prolonging of the past into the actual, no evolution, no concrete duration. Duration is the continuous progress of the past which gnaws into the future and which swells it as it advances (Bergson, 4).

2Critical plant studies is in reference to recent writing by Michael Marder. In his role as editor of a new book series from Rodopi press, Marder defines CPS: The goal of "Critical Plant Studies" is to initiate an interdisciplinary dialogue, whereby philosophy and literature would learn from each other to think about, imagine, and describe, vegetal life with critical awareness, conceptual rigour, and ethical sensitivity. Literary works featuring plant imagery may be analysed with reference to philosophical frameworks, while philosophical discussions of the meanings of vegetal life may be enriched and supported with the tools of literary criticism. Another dialogic dimension of the series entails a sustained engagement between Western and non-Western philosophies and religious traditions, representative of the human attitudes to plants. This “cross-pollination” of different fields of knowledge and experience will become possible thanks to the fundamental role plants play in human life, regardless of their backgrounding or neglect. From Rodopi publishing: http://www.rodopi.nl/senj.asp?SerieId=PLANT

The new materialism I reference was introduced to me through the work of Jane Bennet, (Vibrant Matter: A Political Ecology of Things. Durham, NC: Duke University Press, 2009, and Coole D, Frost S (eds) (2010) New Materialisms : Ontology, Agency, and Politics. Durham, NC: Duke University Press.) but has also been expanding into speculative materialism through reading Graham Harmon and Timothy Morton (Harmon, Circus Philosophicus. Winchester, UK and Washington: ZerO Books, 2010. Harmon, The Quadruple Object. Winchester, UK and Washington: ZerO Books, 2011. Harmon, Weird Realism: Lovecraft and Philosophy. Winchester, UK and Washington: ZerO Books, 2012, Morton, Hyperobjects: Philosophy and Ecology After the End of the World, Minneapolis : University of of Minnesota Press, 2013 ). “Rouge Systems” refers to an installation that is set up to be purposely unpredictable where variables in the system engage one another and the outcome is unknown; for example the use of living materials and/or setting up materials into relationships where state transitions are inevitable (water and wood, dye and water, water and sunlight, spores and growth medium).

3 Conceptual guidance provided by Timothy Morton's writings on the mesh, hyperobjects and speculative sublime. The readings allow a kind of drift to occur between my studio endeavours and the ideas discussed through such philosophical texts.