Kim Rugg



Hawaii, Intergral, 2015 / ink on paper / 33 x 23 inches
Collection of the Honolulu Museum of Art

Kim Rugg / Blooming, 2015 / quilted fabric with silkscreened newspaper text / 17 x 17 inches

America, 2013 / ink on paper / 28 x 42 inches
Collection of the Museum of Fine Arts, Houston (TX)

The Story Is One Sign, 2010 / reconfigured newspaper / 30 panels
Collection of the Norton Museum of Art (FL)

No More Dry Runs, 2008 / newsprint (Financial Times) / 23.62 x 14.75 inches
Collection of the National Gallery of Art (D.C.)

Scratch the Dog, 2006 / newsprint (Los Angeles Time) / 22.83 x 12.6 inches
collection of the Museum of Contemporary Art, San Diego (CA)

Mirrored Stars, 2006 / postage stamp, envelope / 8 x 12 inches
Collection of the Aldrich Contemporary Art Museum

Bullets Ain't Stoppin' Him, 2007
reconfigured comic book (Superman) / 13.39 x 20.87 inches
Collection of the Frederick R. Weisman Art Foundation (CA)

Over the Edge, 2009 / reconstructed newspaper
Collection of Los Angeles County Museum of Art (CA)

California, 2014 / ink on paper / 15.66 x 13.38 inches

A Single White Lilly, 2013 / reconstructed newspaper / 31.5 x 14.57 inches

The World, 2012 / Reconfigured paper map of the world / 36.2 x 55.9

Installation View: "Girl Talk" / Contemporary Art Museum, Raleigh / 2012

Return to the Skies, 2010 / ink and pencil on paper / 23 x 26 inches

Cap'n Crunch, 2009 / cereal packaging on board / 13.78 x 5.91 inches

There Are Still Unresolved Questions, 2009 / ink, pencil, acrylic on paper / 23 x 13 inches

An Amazing Feat, 2008 / newsprint (Los Angeles Times) / 22.83 x 12.6 inches

Pimple, 2008 / reconfigured wallpaper on MDF / site specific / dimensions variable

Playing on Eccentricity, 2008 / newsprint (New York Times) / 22.83 x 12.6 inches

Bam, 2008 / reconfigured comic book / 14 x 23 inches

Hawaii Dry, 2015 / ink on paper / 23 x 33 inches


With surgical blades and a meticulous hand, Kim Rugg (b. 1963, Canada) dissects and reassembles newspapers, stamps, comic books, cereal boxes and postage stamps in order to render them conventionally illegible. The front page of the LA Times becomes neatly alphabetized jargon, debunking the illusion of its producers' authority as much as the message itself. Through her re-appropriation of medium and meaning, she effectively highlights the innately slanted nature of the distribution of information as well as its messengers. Rugg has also created hand-drawn works alongside wallpaper installations, both of which toy with authenticity and falsehood through subtle trompe l'oeil. In her maps, Rugg re-envisions the topography of various states, countries, continents, and even the world without borders, featuring a staggeringly precise hand-drawn layout with only city names and regions as reference points. In own sense of abstracted cartography, Rugg redistributes traditional map colors (or eliminates them entirely) in order to nullify the social preeminence given to constructed territories, and highlight the idea that our attention is manipulated to focus on the powerful few instead of the physical many. Rugg received her MFA in Sculpture from the Royal College of Art (London). Her work can be seen in the permanent collections of the National Gallery of Art (D.C.) and the Frederick R. Weisman Foundation (CA), the Museum of Contemporary Art, San Diego (CA), Honolulu Museum of Art, the Norton Museum (FL), and the Museum of Fine Arts Houston (TX) among others. She has been included in exhibitions at the San Jose Institute of Contemporary Art (CA), Elizabeth Foundation for the Arts (NY), Galerie Schmidt Maczollek (Cologne), and Nettie Horn Gallery (Manchester), P.P.O.W. Gallery (NYC), and was the recipient of the Thames and Hudson Prize from the Royal College of Art Society in 2004. She lives and works in London (UK). For a full biography and curriculum vitae, please click the PDF download link below.