Raking, Plaster, Wire, Spray Paint, 36”w x 20”h x 12”d

 Terrain Objects, Ongoing Series 2014- Present, plaster, wire, ceramic, naturally occurring rust, wax, paint, paper, concrete, wood.  The largest dimension in any direction is 24,” most do not exceed 12”.

Expanded Landscapes, Ongoing Series: 2014 - Present, Archival Pigment Prints from enlarged polaroid, each 40”w x 33” h

Places: unreal, liminal, material is an ongoing series of photographs from objects built and scenes discovered in the studio.  Accessing pictorial notions of landscape, named as a seascape, unknown horizon or alien expanse, these images rely on the materials directly in front of the lens, and the unseen extent of the construction to frame a picture in between plywood, plaster, paper and unreal landscape.
Archival Pigment Prints from digital photographs or scanned/enlarged 4x5 polaroids.

Kiernan Lofland is an interdisciplinary artist exploring the perception and expanding imagination concerning landscape and images of nature. Raised in Virginia, Lofland received a BA in Art and Art History from the College of William and Mary, and an MFA as a Meadows Fellow from Southern Methodist University. Lofland is a co-founder of 100W Corsicana, a residency hosting national and international artists and writers in Corsicana, TX. Lofland has taught at the University of Nebraska Omaha, Concordia University Nebraska, and the University of Nebraska Lincoln, where he served as director of the Eisentrager-Howard Gallery.  He lives and works in Lincoln, NE,  where he is learning how to teach art to children, and jumping through all of the hoops necessary to earn a K-12 Art Certification.


Through the pairing of digital photographs with sculptural elements Kiernan Lofland creates multilayered and highly textural installations that challenge the ways we perceive space and place. The photographs, which often function as backdrops to the three- dimensional components of his installations, are landscapes taken by the artist that he manually manipulates. Lofland works into the surface of the photographs, removing layers of ink and paper in patterns that leave shapes and formations on the photographic prints that organically integrate themselves into the layout of the original image. Along with expanding the realm of the landscape captured within the image, the renderings add volume to the works themselves and collapse the distance between the flat surfaces of the works and the sculptural elements of the overall installation.
The 'sculptural' elements of these installations are comprised of clustered groups of biomorphic shapes that further the exercise of closing the divide between the photographic and molded components of the work. Honed from materials such as plaster and wax and colored in pale neutral hues the shapes appear as petrified forms of sea vegetation or plant life from astral realms. The surfaces that they are placed upon are otherworldly and undulating, constructed from plaster and other pre-fab materials and fused to supports that reveal their origins as objects such as drywall and sawhorse legs. Through the synthesis of "real" elements and others perceived to be "unreal" or imaginary, the artist proposes the tangibility of everything he presents, and suggests the liminal landscapes that he presents us with are on the same planes as those that viewers gaze upon in the photographs.

- SALLY FRATER, Independent Curator