Stephen Filla-Kim is a multi-media artist based in Nordeast Minneapolis, Minnesota, USA. He's a bit hard to pin down, and the elitist art-speak below is what currently passes for his artist's statement. If you're interested in contacting him, please do so using the email link (the little envelope icon) in the navigation bar of this page - or any of the social media links. You can also call him at (612) 716-2532. 

His studio is located in the Q.arma Building at 1224 Quincy St NE, Minneapolis MN 55413 - the painting & drawing studio is B60 and the office & digital studio is 240.

All of the photographs shown here are available for purchase and can be custom printed to size. Some of the paintings and drawings shown are available - those tagged with prices are unsold. Commissions are accepted. 

stochastic: a stochastic process is one whose behavior is non-deterministic in that a system's subsequent state is determined both by the process's predictable actions and by a random element. Stochastic crafts are complex systems whose practitioners, even if complete experts, acknowledge that outcomes result from both known and unknown causes. 

rhizome: a continuously growing horizontal underground stem that puts out lateral shoots and adventitious roots at intervals. (like ginger or bamboo) 

Gilles Deleuze and Félix Guattari used the term "rhizome" to describe theory and research that allows for multiple, non-hierarchical entry and exit points in data representation and interpretation. In A Thousand Plateaus, they opposed it to an arborescent conception of knowledge, which worked with dualist categories and binary choices. A rhizome works with horizontal and trans-species connections, while an arborescent model works with vertical and linear connections.

cultivar: a plant variety that has been produced in cultivation by selective breeding.

Current born, wave flung, tugged hugely by the whole might of ocean, the jelly fish drifts in the tidal abyss. The light shines through it and the dark enters it. Born, flung, tugged, from anywhere to anywhere. For in the deep sea there is no compass but nearer and farther, higher and lower. The jellyfish hangs and sways. Pulses move slight and quick within it as the vast diurnal pulses beat in the moon-driven sea. Hanging, swaying, pulsing; the most vulnerable and insubstantial creature; it has for its defense the violence and power of the whole ocean, to which it has entrusted its being, its going and its will. But here rise the stubborn continents; the shelves of gravel and the cliffs of rock break from water baldly into air. That dry, terrible outer space of radiance and instability where there is no support for life. And now, now the currents mislead and the waves betray, breaking their endless circle to leap up in loud foam against rock and air, breaking. What will the creature made all of sea-drift do on the dry sand of daylight? What will the mind do each morning, waking?

- Ursula K Leguin from The Lathe of Heaven

The dreaming mind indulges in irrational storytelling; making rhizomatic networks of ideas, colors, impressions, emotions, theories, etc. in which there is freedom to move about without logical structure. This work strings up lights in those caves of dreaming and while it may make some observations about meaning these are mainly exploratory impressions jotted down in the excited artist's notebook. This is indeed how the titles of these works are intended - to suggest some possibility among many and also to bring the light of humor along, allowing me to raise a conspiratorial eyebrow with you, dear art lover, as we make this work mean something together.

It is hoped that you'll find here many of the same coral atolls and archipelagos, moon-sheared ragged and silent storm clouds, networks of crystallization and dissolving waveforms, eroding earth bones, blooms of lichen and obscure microscopic phenomena, rugged currents of solar wind and delicate intricacies of human behavior that I find. Alongside and within these I trust that you will find among the open source abstractions connections to your own programs, and that those connections will be made seamlessly, horizontally and without hierarchical distinction - the way smell speaks directly to the memory. It is also hoped that the irony of using language, this language, to describe the meaning of work that exists in some ways outside of language is not lost or disregarded. May the language be the candle that casts the shadow of meaning and its irony be the candle's warmth and comfort.