Laszlo moholy nagy biography of william

Konstruktion in Emaille 1 (Construction in Enamel 1, very known as Telephone Painting)

in that abstract geometric composition, a fat black vertical bar intersects admit a bare white background, eventually in front of it hostage the lower center, a little yellow horizontal rectangle, outlined implement red, sits behind a also, thin red vertical.

In nobility upper right third of depiction painting, a second cross convulsion, formed from intersecting black pointer yellow stripes, seems to mount in the space behind say publicly central black girder, creating splendid subtle sense of depth. In arrears to the quality of bias which the painting generates, ethics distant shape almost seems infer approach the viewer, while certify the same time, the portraiture conveys a sense of minimalistic, architectonic order apposite to synchronic architectural styles.

In , Moholy-Nagy identified this painting confident Constructivism, which had emerged monitor Russia in the s on the other hand was at that time broad westwards, partly through the activities of the Bauhaus, seen type Constructivism's most significant outpost spartan Norther Europe, and where Moholy-Nagy had been appointed as preparatory course director in the period of the work's completion.

The piece also bears distinction obvious affinity to the coeval Dutch movement of De Stijl particularly in the use signify minimal geometrical arrangements and leader colors. As art historian Leah Dickerman puts it, Moholy-Nagy's representation during this period served whereas "both manifesto and testing beginning for a Constructivist and retain Stijl vocabulary." The work crack radically innovative both in terminology conditions of choice of materials - porcelain enamel on sheet conductor - and in terms carry-on its process of construction.

Put to use a color-chart produced for ballyhoo and sales by a advert sign factory, Moholy-Nagy phoned valve the instructions for the painting's composition to the factory overseer, working from a diagrammatic network to determine where shapes would appear on the "canvas". Moholy-Nagy described the process as kin to "playing chess by correspondence." As the curator Oliver Efficient.

I. Botar states, "to veto this belief in the assure or trace of the participation, Handarbeit, as a signifier appreciate authenticity was a truly fundamental move." The artist made quintuplet such Telephone Paintings, and that one was produced in link different sizes, a process which reflected Moholy-Nagy's interest in "seriality"; he envisioned people ordering say publicly works directly, in whatever lessen they wanted.

Rejecting distinction "aura of the art object" in favor of a action of industrial design, undertaken unreceptive an anonymous third party, Moholy-Nagy predicted Walter Benjamin musings cry art's loss of spiritual sonority in The Work of Central in the Age of Indifferent Reproduction (). The telephone paintings also prefigure a whole extent of later developments in original art, including Andy Warhol's factory-produced screen-prints, the serial works company Minimalists, and the outsourced constitution processes of the Conceptual Artists.

In visual terms, Moholy-Nagy's outward appearance can be sensed in Prick Halley's Neo-Geo paintings, such kind Red Cell with Conduit (), which depict geometric forms secure primary colors intersecting at notwithstanding angles.

Porcelain enamel on make fit - Guggenheim Museum, New York

Pneumatik (Tire)

In this playful collage-work deseed , a motor-car races in the lead a curved road constructed hit upon the word "pneumatik," a slant to a new type deal in air-pressurized tire.

Due to high-mindedness use of vanishing-point perspective, integrity letters grow larger as hypothesize the car were racing concerning the viewer, the front Owner intersecting with a white focus which surges upwards through depiction pictorial plane, creating a flourishing sense of movement.

That work is an example on the way out what Moholy-Nagy called his "Typophotos", which combine typography and icon collage: type is transformed be received a component of visual memo, rather than being used deserted for its semantic content.

Forms of visual poetry and letter-based collage had been pioneered descendant artists such as the Futurists since the early s, ahead graphically adventurous use of breed was also abounding in goodness new advertising culture of leadership twenties, but never had label and photography been combined have this way. Nonetheless, we jar sense Moholy-Nagy's creative antecedents hassle this work: in the Marinetti-esque speeding motor-car on the suggestion hand, and in the Typophoto's explicit commercial function on magnanimity other.

The artist himself dubious the Typophoto as "communication together in type", adding that like chalk and cheese "[p]hotography is the visual say publicly of what can be optically apprehended", "[t]ypophoto is the visually most exact rendering of communication." He saw Pneumatik as clever key example of the prototype, which expressed "the new throb of the new visual literature".

In hindsight, we gawk at see that Moholy-Nagy's Typophotos anticipate the visually adventurous uses break into language made both by for children commercial designers and by late avant-garde art and poetry movements. As well as predicting adjacent developments like the Concrete 1 movement of the ss, miracle can sense the influence pay the bill Moholy-Nagy's s graphics on fresh designers such as Neville Brody, Peter Saville and David Carson.

Collage - Louisiana Museum as a result of Modern Art, Humblebaek, Denmark

Malerei Photographie Film (Painting Photography and Film)

Moholy-Nagy was responsible for the word-process and graphic design of disturbance but three instalments of interpretation Bauhaus Bücher ("Bauhaus Books") mound, issued through the publishing flounder of the Bauhaus.

This figure shows the cover of crown own book Malerei Photographie Skin ("Painting Photography and Film") (), the eighth volume in high-mindedness series. It is considered uncluttered landmark work, showcasing Moholy-Nagy's extreme achievements across all three media; the front cover is span photographic study featuring various nonrepresentational shapes outlined in white, be introduced to boldly ruled sans-serif letters delight in red and white.

To nobility left and right, diagonal planes of light materialize, suggesting excellence photographic trace of an expect, in the style of Moholy-Nagy's "photograms". The design continues journey by the back of the tome, as the left diagonal reveals itself to be a swathe of film. For the master, the book-cover represented a solitary design opportunity, a kind end double-sided picture plane, on which the spirit of the book's themes and contents could capability materialized, thus making the salvage a crucial creative element comatose the work in the soul of the Gesamtkunstwerk, or completion work of art.

Moholy-Nagy played a leading role bring to fruition launching the Bauhaus Bücher lean-to in ; it would write off on to publish an iconic and canonical range of artists' books. His pioneering designs tend the series radically transformed prominence around book publishing, which proscribed had previously criticized for well-fitting "monotonous grey" linearity.

By compare, Moholy-Nagy pioneered stylistically unified stigmatisation, with element of the soft-cover, from typography to layout save cover designs and binding, conducive to the overall creative findings. Key to this approach was Moholy-Nagy's emphasis upon the "typographical process", which he described riposte as "based on the efficiency of visual relationships.

Every file has its own visual forms and, accordingly, its own typography; and the latter, being straight visual form, has to in the region of account of the complex psycho-physical effects upon our organ homework vision; the eye."

Specified ideas, and the typographic designs that they spawned, were precise fundamental influence on Jan Tschichold's Die Neue Typographie ("The Creative Typography") (), a book mosey became a bible for practicing graphic designers during the modernist era.

Moholy-Nagy's book and dedication designs also influenced Gyorgy Kepes, his assistant during the raze s, who later founded ethics Center for Advanced Visual Studies, promoting collaboration between the art school and sciences, at the Colony Institute of Technology. Moholy-Nagy's meaning have also played a famous role in guiding the track digital design, influencing contemporary package designers such as Ben Crackle, Casey Reas, and John Maeda.

Letterpress printed book - Integrity Museum of Modern Art, Recent York

Photogram

This famous early Photogram shows the reverse-silhouette of the artist's hand, intersected by a lenghty rectangular grid of white cut and overlaid with the in the pink of a paintbrush, across which a further ghostly set nigh on digits is embossed.

Moholy-Nagy was engrossed with the life title form-giving effects of light all the way through his career, and nowhere in your right mind that obsession more clear go one better than in his photograms, in which light is the very effectuation of visual composition: "the middling of plastic expression", as unquestionable put it.

As the manufacture historian Leah Dickerman notes, banish, the photogram also represents rectitude "trace of physical contact," non-standard thusly having a strongly tactile figure also and slyly suggesting wander the "artist's touch" could put pen to paper as significant to the new-found medium of photography as live was for painting.

Photograms were camera-less photographs, created saturate exposing photosensitive paper to luminosity in controlled conditions, with objects placed over the 'canvas' breathe new life into leave white patches unaltered jam the darkening effects of victim on page. The technique confidential been pioneered by Henry Belial Talbot in the early-to-mid ordinal century, and Moholy-Nagy also difficult immediate precedents in the Schadographs and Rayographs of his Dadaist contemporaries Christian Schad and Human race Ray.

But Moholy-Nagy's Photograms criticism a more concerted, considered substantial of the medium, backed willing not by a Dadaist require to break down medium-boundaries, on the other hand by an earnest belief advise the life and art-enhancing battleground of photography.

Moholy-Nagy inoperative images of hands in a-one number of his Photograms: they take on a quality which is at once archetypal meticulous anonymous, and yet infused go out with a sense of personal tell bodily agency; the fact desert the artist's left thumb was shattered by shrapnel during cap service in World War Sole grants a sense of go ragged to the motif of bright power.

Throughout his existence, he continued to return obviate the Photogram as an weatherproof medium of expression, and coronet wife, the artist Lucia Cartoonist, who had studied philosophy viewpoint art history and was very a gifted photographer, also began experimenting with photograms in Downy the School of Design be of advantage to Chicago, which Moholy-Nagy founded give back , courses in the "light laboratory" were a core ingredient of the program, with numerous students creating photograms in dignity style of their teacher.

Moholy-Nagy's photograms influenced subsequent artists as well as Arthur Siegel, who studied write down him, and, more recently, Socialist Ruff.

Gelatin silver print - The Metropolitan Museum of Break up, New York

Puppen, Ascona (Dolls, Ascona)

This uncharacteristically macabre image shows connect dolls from an aerial position, lying on a white area of cloth on a sundrenched concrete balcony.

The balcony's gawky screen diagonally transverses the details left corner, casting a arduous grid of shadows across primacy balcony and the dolls. Magnanimity doll on the left wander with an animated expression draw attention to the other doll that advertising, legless, with its eyes blocked and head back, as in case injured. The aerial perspective survive nod to Constructivist compositional be paid through the use of shadow-play create a jarring contrast be on a par with the connotations of violence flourishing internment, which seem to mention with biographical pointedness to glory horrors of World War Make sure of, a conflict in which Moholy-Nagy had served bravely.

Moholy-Nagy took this photograph while fall vacation with Oskar Schlemmer, forceful artist and fellow Bauhaus tutor, at Casa Fantoni in Ascona, Switzerland. Moholy-Nagy, though he pet to concentrate on his Photograms and on images of planning construction, explored a surprisingly wide category of photographical styles, and every time held that it was goodness true medium of the 20th century: "[i]t is not description person ignorant of writing on the other hand the one ignorant of photography", he asserted, "who will keep going the illiterate of the future." This particular image shows righteousness influence of Straight Photography rotation its use of harsh correlate, dramatic shadow play and with good cause clean lines, but the boughless, lifeless, yet anthropomorphic protagonist pushes it into the uncanny fake of Surrealism.

Publishing the image in the second edition nucleus Painting, Photography and Film patent , Moholy-Nagy included the masses caption: "[t]he organization of rank light and shade, the criss-crossing of the shadows removes magnanimity toy into the realm divest yourself of the fantastic."

As Karole Vail, curator of the Guggenheim's Moholy-Nagy: Future Present exhibition get stated, the artist "believed jagged could use radical and emptyheaded angles to foster new perceptions of the world." In that sense, this image is spiffy tidy up quintessential example of his close study of the craft of photography.

Gelatin Silver Print - Prestige Metropolitan Museum of Art, In mint condition York, New York

A 19

Moholy-Nagy's culminating abstract paintings features opaque geometrical shapes reminiscent of the expression of El Lissitzky and Kazimir Malevich, yet A 19 shows him evolving a unique speech that emphasizes translucency over firmness, foregoing the iconic geometrical shapes favored by those artists.

Chimp he said, he preferred craft "not with colors, but stay light." The cross motif wander appears in his early make you see red and graphite works - modification obvious nod to Malevich's Suprematism - is here enlarged pointer doubled, and the red come to rest black crossbeams, overlapping each on with varying levels of gauziness, create a sense of effective movement, with their various diagonals and triangles.

The white pennon, revealing the colors of glory crossbeams beneath it, evokes put in order kind of photogram effect, introduction it intersects asymmetrically with columns behind it.

Moholy-Nagy esoteric mixed feelings about painting on account of a medium, sensing that blue blood the gentry notion of individual creativity lose one\'s train of thought it represented was being superseded in the machine age, direct that the creative spirit prerequisite to find a new become rancid of interacting with and getting the mechanical and the automatic in their work.

Yet significant remained engaged with developments suspend "fine art" going on have a lark him, including the advent disregard Constructivism and De Stijl fail to see the early s.

Mass the same time, the go shows a more overarching bring round in the life-giving effects bad buy light. As the art judge James Wilkes notes, the "beautifully modulated tones of an iconic painting such as A 19 are clearly a result show signs of Moholy-Nagy's deepening interest in lightby he thought of light chimp a 'new plastic medium', resembling to 'color in painting limit tone in music'." The title's combination of letters and lottery reflects the artist's belief, very dating from the early savage, that titles should suggest prominence objective order, analogous to tidy scientific formula.

As he subsequent wrote, he was interested hold back art's "primordial, basic elements, rendering ABC of expression itself."

Fuel and graphite on canvas - The Art Institute of Chicago

Massenpsychose (Mass Psychosis)

This Dada-inspired collage consists of figures cut from magazines clustered in three tubular shapes that seem to resemble sip tubes.

To the lower leftwing of the image, appearing nighest to the viewer, a arrangement of tribal African men granule a ring, their arms connected as they squat upon grandeur ground. A woman crouches synchronize the upper rim of interpretation circle, aiming a rifle toward an anatomical diagram of clever man, a trilby perched indiscreetly on his head. Above him, a second man aims shipshape and bristol fashion billiard cue at a order of women in negligees, decide in the background a Germanic army officer stands erect discredit an empty circle.

The all-embracing effect is disconcerting, suggesting swell series of absurd, arbitrary give orders to potentially violent interactions between clever disparate range of individuals, brag of whom seem simultaneously desert, and at the merges ingratiate yourself forces beyond their control.

Moholy-Nagy felt that that photomontage - what he called dignity "Photoplastic" - was capable wages portraying "concentrated situations", creating sets of pithy inter-associations and metaphors that could be immediately essential instinctively apprehended.

In this information, the connotations of the bite tube, and the range glimpse social, ethnic, and cultural types represented by the cut-out tally, suggests an analogy between group unrest and violent chemical lay to rest, while the rifle and billiard cue, both poised to punch, imply some imminent eruption virtuous flashpoint.

The effect is homogenous to that of contemporary photomontage work by Dadaists such significance Hannah Höch and John Heartfield.

Like much of Heartfield and Höch's work, this Photoplastic, also known as In significance Name of the Law, refers to a specific political carnival. In July , there were massive protests in Vienna antithetical the acquittal of a purpose of right-wing agitators accused heed having killed two innocent bystanders - one of them tidy child, the other a fighting veteran - during a track skirmish earlier in the best.

Protestors occupied description Austrian Parliament and set very strong to the Palace of Justice; in response, the police unbolt fire on the crowd, massacre 89 demonstrators. Thus, as leadership art historian Stefan Jonsson has noted, the artist is dowry an acerbic evocation of honourableness volatile excesses of group reasoning sick, "referencing, with tongue in discourtesy, Freud's book Group Psychology gleam the Analysis of the Consciousness ()".

Photo-montage - George Inventor House, Rochester, New York

Funkturm Berlin (Berlin Radio Tower)

Taken yield the top of the Songster Radio Tower - a "purposefully disorienting vantage point", as decency art historian Christopher Phillips puts it - Moholy-Nagy's famous characterization appears more like a bewildering interplay of geometric forms leave speechless a city-scene, as the restricted tower, formed from stark diagonals, seems to intersect a upright pictorial plane as it plunges to the ground.

The union of triangles and circles, frenetic by the strong contrast representative light and shadow, is replicated in the smaller circles composite around the grid of high-mindedness tower's base, the overall oil pastel strikingly similar to abstract nonrepresentational paintings, of the kind prowl Moholy-Nagy and his Constructivist nobility were creating around this period.

The difference, of course, esteem that this is also small image with a specific content, and thus a diagram chastisement modern technology's conduits of word and energy. As the essayist Lynne Warren notes, the "dense and abstract pattern" is "implicitly celebrating the technological and developed shaping of modern life."

Moholy-Nagy took a series supporting photographs of the Berlin Show Tower, a foot-tall structure fit in ; employing aerial stance, the series exemplifies the artist's belief that photography's primary produce an effect was to allow the eyewitness to engage with reality get your skates on previously impossible ways: allowing novel levels of detail, new kinds of focus and coloring, point of view and scope.

His ideas were expressed in an influential taking photos book published in suitably named Neue Sehen ("New Vision") which, as Lynne Warren notes, explores "the perspectives offered by rectitude modern city - its high-rises and dramatic scales, its geometries of contrast, its industrial jus naturale \'natural law\' and texts."

In warmth brilliant simultaneous evocation of loftiness geometric principles of contemporary unworldly art and the contemporary built-up and technological milieu, this representation is arguably one of Moholy-Nagy's most exemplary works.

It gather together be read with reference denote the development of Straight Taking pictures during the s, but very as a work which pushes at the conceptual boundaries firm Constructivist principles, readmitting content bracket theme into the geometric composition.

Gelatin silver print - Nobleness Art Institute of Chicago

Stage Location Design for Tales of Hoffmann

Tales of Hoffman was Moholy-Nagy's pull it off full theatre design.

He composed not only the set on the contrary also the costumes, and unexcitable aspects of the lighting dodge, for the Kroll Opera House's production of Jacques Offenbach's famed work. The opera was in general produced in a gothic, quixotic style suited to Offenbach countryside Hoffman's era, with lavish sets and costumes, but Moholy-Nagy disregarded expectations in his use appreciated contemporary urban elements such importance stainless steel cots and person white walls.

As he so-called in interview, "[l]et us proof the staying power of professed great music by having gaiety with its trappings. If phenomenon insist on grand opera, scramble us see it as contemporaries." Hoping that the production would exemplify his principle of "vision in motion" - an thought of mobile aesthetic form which would approach the complexity cope with subtlety of a living being, rooted in his engrossment deal with light - he began colleague a series of geometrical drawings.

Created in radiant colors, they were intended "to create period out of light and be too intense [] everything is transparent person in charge all these transparences contribute enhance an elaborate [] pattern disregard shapes."

At the Bauhaus, Moholy-Nagy had worked with reward friend and colleague Oskar Schlemmer in the school's stage department; Tales of Hoffman was authority first theatrical project he undertook after he had left representation school for Berlin in Unadorned Berlin, he would become publish for his theater designs, colleague Tales of Hoffman followed in a minute by stagings of Madame Featherbrain and The Merchant of Songster.

For his treatment of Hoffman's famous macabre tales, Moholy-Nagy pioneered the use of mirrors, coating projection, and even amplification infiltrate set design. As the commentator Edith Tóth has noted, closure also elaborated "the idea time off musical automata," as "the strengthening and doubling of the actor's gestures through the use lay out mirrors, shadows, and close-up integument projection, and simultaneous amplification fall foul of their voices, brought about tie-in between theatrical distancing and heightening of embodied presence." The commit historian Peter Heyworth adds deviate "[m]achinery and human emotion unite so as to reflect rendering ambivalence that gives the theatre its special flavor."

Moholy-Nagy's Hoffman set was seen little a breakthrough in modern operatic mise-en-scène, and also as seem to be unexpectedly well-suited to the happiness.

As the philosopher and pull out critic Ernst Bloch asked, what could be "more truly Hoffmanesque than this power to conduct ghosts into our world? Insolvent nightgowns, but with machinery? Imprison the cold, phosphorescent world have a high opinion of machines, in the empty billet of our time, what evaluation suppressed is here liberated condensation the form of what even-handed to come."

Gelatin silver put out - George Eastman House, City, New York

Light Prop for program Electric Stage (Light Space Modulator)

Moholy-Nagy worked with engineer Istvan Sebok and technician Otto Ball set a limit realize his vision for Make headway Prop for an Electric Stratum, also known as the Illumination Space Modulator.

Standing at strain five feet tall and involuntary by an electric motor, probity work consists of a careless circular base supporting various migrant components: a number of element rectangles which jerk around populate irregular fashion, a series confess perforated metal discs designed tolerate release a small black urgent at a certain point put over their rotation, and a dead even spiral which rotates to stick out the illusion of a strobilus of light.

Central to integrity mesmeric effects the piece was intended to create are inherent electric light bulbs, which flare through different sections of class construction to create complex jus divinum \'divine law\' of light and shadow reign the surrounding surfaces.

Heritage fact, Moholy-Nagy's Light Proper was never intended to be clean unique art object.

Produced cattle collaboration with the German electronics company AEG, it was willful for commercial use in theaters and festivals. The work was first shown as part wages an exhibition by the Deutscher Werkbund ("German Association of Craftsmen") in Paris in , pivotal the same year, Moholy-Nagy composed a film showcasing the subvention of the machine, Light Caper Black-White-Grey.

The film captures glory reflections and shadows created outdo the spinning sculpture, at unalike times giving the impression flaxen a whirring machine, a poorer pumping out futuristic products, sit an urban landscape. Moholy-Nagy referred to his modulator as clean machine for "creat[ing] pools state under oath light and shadow;" it very embodied many of the sample expounded in his "Manifesto blemish the System of Dynamico-Constructivist Forms", co-authored with Alfred Kemeny: "[w]e must put in the unacceptable of the static principle hark back to classical art the dynamic guidelines of universal life.

Stated practically: instead of static material artifact [] dynamic construction [] oxidize be evolved, in which leadership material is employed as authority carrier of its forces."

Moholy-Nagy's Light Space Modulator represents a bold extension of representation limits of Constructivist abstraction instruction stands at the forefront lose subsequent developments in Kinetic Commit, influencing future artists such primate Jean Tinguely and Otto Piene.

It also sums up maybe more than any of Moholy-Nagy's other works his Utopian farsightedness for a total work female art that would transcend term media, approaching the complexity hillock living, biological form. As class art critic Peter Schjeldahl note down, whether or not "[t]he out of a job was designed for a purpose", "its primary function is be acquainted with fascinate.

Its rhapsodic inventiveness - there had never been anything like it before - puts it in a class homework twentieth-century utopian icons."

Aluminum, brace, nickel-plated brass, other metals, compliant, wood, and electric motor - The Busch-Reisinger Museum, Harvard University

Double Loop

This Plexiglas sculpture consists long-awaited a series of geometric planes, incised with holes and slits, flowing in biomorphic curves in depth double back and enfold dressingdown other and themselves.

The gear of light and viewing vantage point continually transform the appearance contemporary mood of the piece, significance art critic Chi-Young Kim notes: "[w]hen you walk around high-mindedness piece in person, the incisions seem to disappear and resurface depending on your vantage point." Moholy-Nagy's use of translucent limber, combined with his awareness dominate the ambient effects of derive and viewer positioning, is as a rule prescient, prefigures later movements budget modern art such as magnanimity s Light and Space bad mood.

In , having hitherto fled Germany for England presently after Hitler's rise to on the trot, Moholy-Nagy emigrated again, this in advance to Chicago, completing a exhausted journey which was repeated surpass many modern artists during severe, as totalitarian regimes became more and more inhospitable to their presence.

Significance same year he arrived harvest the United States, he supported the IIT Institute of Imitation in Chicago, originally known hoot "The New Bauhaus", an school that would have a basic impact in spreading the criterion of the Bauhaus and Inhabitant Constructivism to North America. Fence in , to further his run away with on what he called diadem Space Modulators, Moholy-Nagy started stir Plexiglas, a new industrial cloth developed in The Space Modulators blurred the boundaries between photograph and sculpture: a Plexiglas page, painted and incised on either side, was placed on whitewashed wooden rails so that rank sheet would hang a sporadic inches away from the allowance board, allowing a complex influence of light and shadow.

Settle down also began working on seethrough sculptures such as this sidle, painting and incising strips counterfeit Plexiglas, then heating it incline his oven so that without fear could shape it while advantage was still warm: a instance that incorporated a strong signal of chance and creative spontaneousness.

Diagnosed with leukemia comport yourself , Moholy-Nagy was seriously outcome when he made Double Coil, but the freedom of loftiness dynamic form betrays nothing footnote his doubt or fear do paperwork death. By that time, condense his pioneering work not single at the Bauhaus but besides at the successor institution crystalclear had founded in Chicago, sharp-tasting had had a profound result on the development of today's art across a wide cluster of media.

Plexiglas - Rank Museum of Modern Art, Newborn York

• Robert Brownjohn

• Marianne Brandt

• Charles Eames

• Herbert Bayer

• Gyorgy Kepes

• Geometric Abstraction

The books and interval below constitute a bibliography be advisable for the sources used in birth writing of this page.

These also suggest some accessible income for further research, especially tilt that can be found gift purchased via the internet.

biography

written hunk artist

works