ANGELS AND DEMONS
I present my reality through time as I have experienced them in the telling of my stories. My interpretations are colored by ethnicity, shaded by economic plight, textured by gender and rhythmic values, intensified by marginalization. Though I use personal interpretations as a view finder to my own unique approach to art making, I strive to develop cognitive understanding that take into account the subtle cultural coding systems that illuminate the social, economic and political landscape. As I sift through the residue left from political action I look for the subtleties of life’s struggles and the resilience of the human spirit to resolve toward personal peace as I fight eco justice systems. My work then emerges as reflections through my own personal lens that engages my audience to draw their own conclusions, make their own stand and live their lives to the fullest.
I use collage to make my statements and reflections. It’s easier for me somehow. When I’m in the moment of art making all is good, there is no frustration, no feeling of hopelessness or regret only the fun of making art and magnifying those who had no opportunity to tell their stories. I am honored to have this opportunity to bask in this world as an artist.
second floor Gallery
In contrast to traditional mediums like drawing or sculpture, wherein intention, mood, and voice often precede creation, the effort of collaging is largely an experience of surprise. The individual elements of each piece are chosen deliberately, though it is not until after they are puzzled together that their essence finds purpose. The experience of surprise is also shared with the viewer. By being presented with the marriage of the logical and the absurd, the viewer is free to interpret the tangible work as a fleeting and intrapersonal event.
Influenced by the uncanny, mercurial nature of dreams and disorienting flashes of déjà vu, these pieces explore the threads of humor that we often weave through our darkest experiences in an effort to cope, conceal, understand, and defend. As innocence meets malevolence, mortality taunts vitality, and chaos confronts control, the scenes become increasingly unsettling in their undeniable familiarity.
First floor Gallery
Donn Kidd lives in Dane County Wisconsin where he operates a weed harvester boat on county lakes. Donn has been an Air Force brat, an art student, a toy designer, a fusion energy research mechanic and a data jockey studying the epidemiology of aging and the senses. His interests include science fiction, boating, gardening, role-playing games, woodworking and fermentation.
Donn’s artwork, as informed by his eclectic past and diverse interests, provides continuity and direction to his experience. His paintings playfully attach moments to moments and ideas to objects. These objects though entangled with humorous cognitive and perceptual errors remain saturated with a retinal attention to the tangible.
video art screen
How Big The Little World Felt
"The Children of the Mountain Ride Again"
video: Toby Kaufmann-Buhler
music: Nathan Davis
video assistance: Nathan Davis, Trent Miller
"How Big The Little World Felt"
video: Toby Kaufmann-Buhler, Jeremy Wineberg
soundtrack: Toby Kaufmann-Buhler
video contributions: Lucy & Silas Wineberg, Michael Velliquette, Scott
Espeseth, Sam Osenar & Ben Nelson, Jennifer Kaufmann-Buhler, Susan,
Mira & Jakob Nelson-Nafranowicz, Fernanda Loaiza-Renfro, Gary Sumnicht
& Alison Wineberg, Rachel Bruya
The work for these two videos began with the old empty central
library, just before the "Bookless" event in 2012 and the library's
renovation. The three books were chosen at random, by the color of
their book covers.
Making “The Children of the Mountain Ride Again” involved an
exploration of the library spaces, then completely emptied of books,
with furniture and detritus left in odd and interesting
juxtapositions. These arrangements determined the pathways for the
books as they traveled through and explored the library spaces. Nathan
Davis then took the resulting video and made the music for the
soundtrack, according to the movement of the imagery. This was then
shown as a three part installation in "Bookless".
As a sequel, “How Big The Little World Felt” followed a very different
but sympathetic direction, with the idea of the books being out in the
world directly after leaving the library (and quite possibly returning
to it at the end). I collaborated with Jeremy Wineberg on this
concept, and he made the text sequences; we passed the books to a
number of different people for them to make video contributions. We
asked them to take the books on whatever adventures they'd like, with
one request, which was for each book to visit a Free Little Library
somewhere. This video was made in 2013 for "Stacked", the first big
exhibition at the newly opened central library; it was originally
silent, and the soundtrack was made in 2018 (based on the sound of an
important collective event in 2011 that took place in Madison).