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Kika Karadi
In the "Horror Films" series, I apply black ink, with a brush on primed canvas to transfer masked geometric abstractions from 1930’s & 40’s horror film noir cinema. While painting, I screen films such as, White ZombieMurders in the Rue Morgue (1932) and Island of Lost Souls (1933). Various abstract assimilations are transmitted; a vast stream of specific information via a brief legible codex of shape, texture and frequency is the result. Because of the physicality and sensitivity of what the brush records vibrationally, the paintings represent a quantifiable energy that is a closer echo of how subatomic levels of reality organize themselves. Albeit, light, emanating through time-space recorded on each film emulsion, is a transcendental experience. The monster/beast characters in these films are naive, fragile and sadly doomed in the end. Their demise is fueled by the human characters' egomaniacal assimilations, which motivates human vanities. In this way, these paintings are an attempt to serve as a primer of extra sensory experience. A primer, that is seemingly spiritual but is ultra-physical.