ARTIST KHARA OXIER-MORI: BEYOND HER OWN PRIVATE IDAHO

One of the more intriguing Soho solo art show debuts of any artist this season was that of Khara Oxier-Mori, an Idaho-based
whose practice primarily revolves around the human body- and the exploration of survival, fear and violence- often about cycles and transitions. Khara’s interests include neolithic art and paleoethnobotany, which clearly express an encyclopedic mind
in many of the provocative pieces recently on display in Soho at the GBG Gallery at 462 West Broadway.

Idaho has long been one, for this writer, anyway, held the notion as one of the most mysterious and mystical American states.
And having never been to Idaho, one took the opportunity to approach the work as being transportive. And so to further do
that we sought also to probe a slate of questions to this former Marine turn buzzed about the artist from Idaho and what all
this mixed-media multi-disciplinary work is trying to teach the world.

GEORGE WAYNE – Calling your work viscerally expressive would be an understatement. What do you say to that notion?

KHARA OXIER-MORI- I have always wanted to make paintings that feel like another human when you are standing in front of them, and I relate the word visceral to that feeling.
GW – How would Khara Oxier-Mori describe her visual narrative?
Is it an even assessment to say- yours is now what one would describe as
”joyous art”.

KOM- I would describe my visual narrative as multivalent. I see things from as many different angles as possible. Life is complicated, and I am more interested in exploring structures, cycles, and tension points than in a linear story. I will love it if my work is experienced as “joyous art”. It is filled with ups and downs and moments of triumph. I hope that my work expresses all of this and mirrors life!

GW – For the wandering art mind strolling through West Broadway and stopping
to see your solo debut at this prestigious (GBG Gallery). Their first thought seeing your work would be that this is a pretty dark art. And yet– your art show is selling out! Your first New York City exhibition can be considered an enormous success. What do you
think about that?

KOM- I do not shy away from darkness in my work. I understand the night in life to be a reality and prefer to allow space for it to transfer into position. I feel so honoured to be able to show my work in NYC at GB Gallery. I was nervous and had no idea what the outcome would be; the fact that it is resonating there has been heartwarming! I met many amazing people at the show opening, and connecting with them was a beautiful experience.

GW- Talk about your roots. Your early Boise days and your life as a woman and an American marine.
KOM- I moved to Idaho at the tail end of the 90s, and have always lived in smaller towns outside of Boise and spent some seasonal time in the backwoods. My first experiences here were working and driving cattle. Most of the old timers I knew have passed on, so it’s not something I help with anymore, but I feel honoured to have had these experiences and have seen some of the most beautiful and humbling countries in Idaho on horseback.
I don’t know where to begin regarding my time in the Marines. I had some of the best and worst experiences of my life during this time, and it deeply impacted me and continues to do so.
GW- You have a particular encyclopedic mind when it comes to the sub-genre of
Neolithic/Ancient Art and Paleoethnobotany. First, explain, and define the latter word.
KOM- Paleoethnobotany, generally, is the study of the past relationship between humans and plants. The subjects you mention are fascinating, and I try to keep up with learning about them. Through this lens, I explore the history and relationship with the body, plants, the garden, and the past. My mind is not encyclopedic; Sometimes, I make artwork to help me connect ideas, materials, and timelines; making artwork helps me remember.
GW- And was this your college degree from Boise State University?

KOM- Yes, in anthropology!

GW- Do you think you were a gipsy/witch in your previous life?

KOM- I have no idea…

GW- This particular show is in Manhattan. What was the spirit driving your singular vision for this show, and how would you describe it?

KOM- The driving spirit of this show is to celebrate and explore life, the structures we exist in, and also joy, love, curiosity, pain, medicine, and healing under one umbrella.
GW- There seems to be a massive fan of art aficionados from Mexico City who collect your work in droves. You’ve had two successful shows there in the past three years. Why do you think this is?

KOM- There is an openness in my work that people are interested in. It leaves room for speculation. When I have a show, people often tell me stories about themselves and their life, and I adore that.
GW- For this astute eye- the most intriguing work at your New York City debut
is the stuffed-looking red-rooster menacing-looking creation. What exactly is it?
Is this taxidermy clashing with your neolithic artistic sensibility? What is this creature creation of Khara Oxier-Mori?

KOM- I wanted to make a sculpture that explores stories that induce fear, sometimes take on a life of their own, and are often used for control. This bright red work does clash with the darker and earthier red results but in a good way. This clash of reds is necessary to help depict a transition in time. I was thinking about specific plants with a long documented history with humans, plants that have been valued in prehistory and later described as poison, and more recently, are being studied as medicine. I titled the work “Pharmakon”, which can mean poison or remedy, from the writings of Jacques Derrida.

GW-And you seem to be fascinated by the colour red. Agree?

KOM- Yes! It is such a powerful colour that has many interesting interpretations! In hindsight, I can recall that I started doing red work during a summer with a terrible fire season. There was a lot of smoke for about a month, and it was dark and eerie, and everything seemed to glow red, especially during dawn. My working pattern is very connected to the seasons and weather here, so I don’t usually sew inside in the summer, but I stayed in because of the poor air quality. It was a solid month of sewing and seeing everything red. The house’s central area was filled with red fabric, fluff, and scraps, and the red from outside seemed to tumble in the windows all around me.

GW- Is your internal tussle artistically- one of good versus evil?

KOM- I spend a lot of time thinking about how people define and judge others.

GW- The state motto of Idaho– ‘Esto Perpetua’, which in Latin
is – Be Eternal. Which somehow also seems to define the craft of Khara
Oxier-Mori.

KOM- I will have the Bangles song “Eternal Flame” stuck in my head!
GW- Thank you for this moment and your expressive vision Khara Oxier-Mori.