Rahim Kara (°1982, Mombasa, Kenya) makes photos, media art, films and mixed media artworks. With a subtle minimalistic approach, Kara creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used.
His photos directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. By examining the ambiguity and origination via retakes and variations, he tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His works never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. With a conceptual approach, he tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
His works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By exploring the concept of landscape in a nostalgic way, he seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
His works establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. By choosing mainly formal solutions, he tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
His practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of photography: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. By emphasising aesthetics, he investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination.
His works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning.
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