Studio in south St. Louis serves as both a workspace and a repository for over a decade of his artistic creations. Housed within a vast, high-ceilinged warehouse, the studio features a printing press utilized for selected pieces and a kiln where he meticulously fires and refires his ceramic sculptures.
Amidst the space, wooden crates on pallets store numerous finished sculptures that have been showcased worldwide, with stenciled letters on some crates indicating their past destination: Singapore.
Spanning 13,000 square feet, Irving’s expansive studio encompasses a side room dedicated to storing his drawings and paintings, adorned with works by fellow artists. Within a large office area, a studio assistant diligently works at a computer on a recent morning.
Expressing his deep commitment to his craft, Irving remarked, “I believe my level of dedication surpasses that of most of my peers and the general populace. I pour my heart and soul into my art—it’s my life’s purpose.”
His artistic endeavors have garnered significant recognition, with solo exhibitions at prestigious institutions such as New York’s Museum of Modern Art, alongside showcases in London, the 2019 Singapore Biennial, and various locations across the United States. Notably, he was honored with the inaugural Young Artists Prize by Cultured magazine.
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Kahlil Robert Irving overseeing the installation of a television screen as part of his exhibition “Archaeology of the Present” at the Mildred Lane Kemper Art Museum at Washington University last month.
Eric Lee / St. Louis Public Radio
During the installation of Kahlil Robert Irving’s exhibition “Archaeology of the Present” at Washington University last month, tiles from “Soul on Stars” are meticulously arranged on a table. The exhibition will run until July 29.
Presently, Irving showcases solo exhibitions concurrently in Kansas City and the Mildred Lane Kemper Museum. The Kemper exhibition, an updated version of his previous showcase at the Walker Art Center in Minneapolis, includes a curated exhibit titled “,” featuring short films by seven artists portraying everyday life in African American communities.
Raised in various neighborhoods around St. Louis, Irving engaged in pottery classes, YMCA activities, and pursued graduate studies at Washington University’s Sam Fox School of Design & Visual Arts. After gaining experience and teaching elsewhere, Irving returned to St. Louis permanently in 2020.
His artistic repertoire encompasses ceramic sculpture, digital collage, painting, video, and a myriad of other mediums. Infused with influences from hip-hop culture, Irving often assigns elaborate titles to his sculptures, incorporating multiple colors, typefaces, and unconventional punctuation. Noteworthy is the inclusion of an alternative Missouri state flag within the Kemper exhibition.
The pieces within “Archeology of the Present” are predominantly displayed on or within a raised wooden platform, inviting viewers to navigate around them. Some sculptures are nestled within openings in the platform, offering a unique perspective, such as a ceramic square resembling asphalt. Additionally, a ceramic sculpture resembling a brick chimney emerges from the platform, towering above visitors.
The overall effect mirrors a contemporary urban landscape observed through an archaeological lens.
Eric Lee / St. Louis Public Radio
Kahlil Robert Irving’s exhibition “Archaeology of the Present” showcased at the Mildred Lane Kemper Art Museum at Washington University last month.
Eric Lee / St. Louis Public Radio
Kahlil Robert Irving, accompanied by Meredith Malone, curator at the museum, oversees the placement of a piece during the installation of Irving’s exhibition “Archaeology of the Present” at Washington University last month.
Among the exhibits is one of Irving’s amassment sculptures—a substantial piece resembling fused found objects set in a concrete base, yet crafted entirely from ceramics. Titled “Caution MASS(in the bank) | Media flow + Ground Swell / Pipes tubes Chimney,” the sculpture incorporates various objects, including a ceramic apple and a cinder block.
Embedded within the objects are fragments of a St. Louis Post-Dispatch article, referencing a KTVI newscaster’s use of a racial slur on air while discussing Rev. Martin Luther King Jr. Additionally, a small photo of the artist is discreetly integrated into the artwork.
“The intention is to challenge and intrigue the viewer,” Irving explained. “Not every reference is meant to be universally understood. Certain aspects may resonate with some individuals based on shared life experiences, interests, and creative inclinations, particularly those with a similar cultural background to mine.”
Eric Lee / St. Louis Public Radio
A team member meticulously cleans dust off a newly installed piece as part of Kahlil Robert Irving’s exhibition “Archaeology of the Present” at Washington University last month.
Eric Lee / St. Louis Public Radio
Kahlil Robert Irving and Meredith Malone, curator at the Mildred Lane Kemper Art Museum, collaborate during the installation of Irving’s exhibition “Archaeology of the Present” at Washington University last month.
During a recent session, Kemper Art Museum Associate Curator , who orchestrated the exhibition, highlighted various details within Irving’s creations. Notably, a slab of black granite features a digital collage intricately carved into its surface using an industrial milling machine. The collage incorporates a QR code referencing Irving’s MoMa exhibition and an image of a sculpture by Thomas Ball, a piece owned by the museum.
Malone elaborated on Irving’s artistic approach, stating, “He creates imperfect artifacts of the contemporary era, employing collage and fragmentation to comment on memory retention and cultural understanding within our current context. His work delves into the past while reflecting on our present circumstances.”
Ball’s 1875 sculpture commemorates the Emancipation Proclamation, depicting Abraham Lincoln standing alongside an emancipated man. The man depicted, Archer Alexander, was enslaved in Virginia before residing in and around St. Louis. Ball’s memorial still stands in Lincoln Park, Washington, D.C., although Boston officials removed a copy from public display in 2020.
![“Flat Smoke [{my heart is and ain’t heavy}| Can we remember MS Green!],” displayed as part of Kahlil Robert Irving’s exhibition “Archaeology of the Present” at Mildred Lane Kemper Art Museum at Washington University in St. Louis. The exhibition will continue until July 29.](https://static.beescdn.com/beinglive.org/2024/03/20240313102650841.?x-oss-process=image/auto-orient,1/quality,q_90/format,webp)
Eric Lee / St. Louis Public Radio
“Flat Smoke [{my heart is and ain’t heavy}| Can we remember MS Green!],” featured in Kahlil Robert Irving’s exhibition “Archaeology of the Present” at the Mildred Lane Kemper Art Museum.
This visual element within Irving’s artwork serves as a segue to his upcoming project: a reimagined rendition of Ball’s statue, commissioned for an upcoming exhibition at the Museum of Contemporary Art in Los Angeles.
Discussing his vision, Irving proposed, “I aspire to create a new monument for the rose granite pedestal in Tower Grove Park,” alluding to the removal of Christopher Columbus’s statue in 2020.
Irving draws inspiration from the architectural and historical significance of brickwork and industrial ceramics in St. Louis. However, his artistic perspective is deeply rooted not only in these connections but also in his profound ancestral ties.
“My ancestors were enslaved and migrated to St. Louis through diverse paths. I am a descendant of those individuals,” Irving reflected. “When I contemplate my family’s narrative, my origins, and my lineage—it underscores the significance of St. Louis in my life.”