ARTIST BIO.
Photo by Billy TownsArtist Christopher "kolpeace" Johnson born in 94' explores his black southern culture & ancestral characters through liberating portraits while rapidly creating & specializing in contemporary art, public art , community art, and performance art. Now residing in Baltimore during his studio artist residency at Creative Alliance after obtaining his MFA in community arts from MICA (2021) , His work is intended to instigate the narrative of taking the art from the gallery walls to the people by engagement mixing graffiti techniques with contemporary art tools. The artist's identity growing up in South Carolina translated through his work displays his culture through black afro heretic learnings from books, music and advocacy. His visual contemporary & performative work done at the Baltimore Museum of Art (2023) , Harvey B. Gantt Center (2021), and Gala of the International African American Museum (2023) of what the artist represents. "kolpeace" stands for (Kids Only Love Peace), presenting a black identified folktale that paints from his influential past/present/future in hopes to create moments of betterment and liberation towards humanity. Through childhood genres of his black cultural folk life music such as (trill, trap and soul music) to encourage & liberate culture prejudice. A few engaging artistic/unique tools used by the artist to produce prolific artwork while captivating audiences within community spaces and liberating faces. While exhibiting in solo & group shows across the nation such as the Avery Research Center at the College of Charleston (2020) and the Eubie Blake Center (2022) the artist takes pride in studio works to pave a personal connection with viewers as he begins his Residency at the Gibbes Museum of Art in 2024.
artist statement.
As I've looked at what I've created over time I recognized there are layers of life that source developing stories to learn lessons from in order to improve the betterment of humanity. By championing the needs of the people I journeyed through that self development by placing myself into personal exploration of my southern roots.
As I dig, I find myself creating portraits of personal influential family, friends, and community people through shared moments of hospitality and music. When creating from a social and emotional development space it's apparent to engage with the subject by asking personal questions about love, life , and loss. I believe paint of many mediums is the strings of an instrument tapping into my black ancestral plane. The unique tools used outside of a studio setting sets the tone of what I believe liberates my audience into an afro futuristic perspective by setting the stage wherever I perform using folklife music growing up in the south.
My visual performative and studio paintings give off an engaging aspect that are reflective of past characterics of my ancestors to connect with viewers to think about the safe intentionality of color. The imagery offers a contemporary graffiti homage of my culture connecting and engaging in community. The struggle with this is access to spaces with value of engagement in my work as it's used to create life and safety towards an afterlife existence of my blackness.
As I begin my research on color theory and my on-going thesis of a libertorial critique of arts effect on the brain when triggered by sound mixed with color , oppressed and/or liberating historic figures or events it creates a connection to the artist. This is implemented into my practice with creating on recycled wood surfaces and paint mediums such as oil , heavy body acrylic , spray paint , pastel and fire.