Born in Kanagawa, Japan; based in Los Angeles and Japan.

Kio Griffith is an interdisciplinary artist, independent curator, and arts writer working across themes of social issues, geopolitics, and migrating cultures, through multimedia, craft, and technology-based works including graphic design, sound, and video, performance, computer programming, writings, installation, and publishing. He has exhibited internationally in the UK, Japan, Germany, Croatia, China, Hong Kong, Korea, Turkey, Belgium, Finland, Sweden, Norway, Mexico, Colombia, Brazil, and the U.S. Most notably are the 2016 Aichi Triennale in Nagoya, Japan, the 2017 Emerging Curator at LACE (Los Angeles Contemporary Exhibitions), and exhibiting artist at Tokyo Arts And Space, Open Site 2018.  His current projects include co-founder at OOTE 41221 project space, co-founder of Transit Republic, an art and socio-anthropological publication, Genzou, an intercultural photographic journal, independent curator, and contributing editor for Fabrik, Artscape, and Art Bridge Institute. Griffith’s work is in private and museum collections including the Los Angeles County Museum of Art. 


Growing up in a reactive industrialized postmodern Japan, thriving but also doubtful of the oncoming western influences of popular culture and in the meanderings and shifting—side to side between two cultures—I have learned to develop my numerical codes alluding to modernist mathematics. Building on conceptual socio-ethnological puzzles that translate into uncanny situations of nuances; mondegreens morphing in meaning and sound; literary tropes and poetics which transform in shape and color while in transition. My work posits not merely reflections of this pan-nationality but also of pan-sensory experience. Fine-tuning of the listening/reading dialogue develops through exposures to auditory chaos of discordance, euphonies, and speech. My strategy is to reconstitute an ‘optiphonic’ paradigm that creates an immersive social, communal experience and to resuscitate what has disappeared in generational transference. 


The current body of work is a process of shuffling information to find meaning. In a world of self-journalism in which documentation is a daily activity of sharing texts and images, the general idea of “reading” has changed. Reinvention and newly invented languages, truncated communication techniques, the relative associations, and the reading between the lines, faces, spaces, and the air surrounding us—we continue to interrogate. 


The anomalies travel from wood to paper to the retina. The information is picked up in pieces and processed in the world of mind; the expectations of existing and being “real” and those “ideas” become synonymous with “differences.” In a previous sound installation, I have collected recordings of private readings that were introduced into a universe of voices, each formulating into a particular axiom relating or unrelating in the space. The newspaper series, which I began in 2016 during the sound installation, were exercises in finding the notations that constructed the text fields. These evolved into the notated collage work exploring the boundaries of fiction, theories, and news. Found books open to create a new flow in an attempt to resuscitate a new algorithm, in sculptural and animated forms. These works are a type of antithesis to contemplate—when the battery runs out of our handheld gadgets. 





“I highly recommend Kio Griffith's solo exhibition at L.A. Artcore in downtown L.A. Subtle, nuanced, complex sculptural collages rich in content and meant to be read. Inventive use of simple materials‑‑paper, tape and glue, packed with meaning and references to art, literature, science, politics, and history. Smart, poetic, and beautifully installed. You can spend a long time with each piece and leave with something to think about.”

 —Jacki Apple, art critic


“Griffith carries this translucent alienation in his genes. His mother is full-blooded Japanese, his father a (once-)characteristically American mix of Anglo-Saxon, German, and northern Italian. Members of each family fought members of the other in the Second World War. To this day, Griffith elides easily between his parents’ disparate cultures. But he is wholly of neither. In a way, he is a country of one. It is fitting that, in his curatorial projects, Griffith functions as a kind of ambassador between both national and individual artistic languages. Until we transcend the nation-state, until the tribes share (and save) the shrinking planet, we need miscegenates like Griffith to talk to one another without distortion.”

Peter Frank, art critic


“He says his father was an “adventurous spirit” who left the U.S. and reinvented himself in Japan 60 years ago. Maybe he was searching for his father’s identity (like all sons and daughters do after losing their fathers) in the cache of diaries, books and ephemera found stashed in the attic after his passing. I say that this spirit, whom artist Kio Griffith acknowledges still lives within him, recognized his old treasures and with the artistic gifts newly acquired from the son of its previous host, blithely refashioned that earthbound chattel into beatific poetry.” 

Georgeanne Deen, artist


“Griffith’s in(poetry)2dexed effectively blurred distinctions between pre-digital and algorithmically controlled information. Mimicking the way algorithms shuffle bits of data from a variety of sources, the installation was an intriguing mash-up of vintage texts taken from different mediums, cultures and time periods. For one section, the artist installed a row of elegant minimal wall sculptures made by separating the cloth from the cardboard of Japanese dictionary and encyclopedia book covers. Elsewhere he presented newspaper collages overloaded with more text than one can possibly consume, and sculptures created by cutting up and restructuring books and record-set boxes to resemble architecture or to replicate patterns of sound frequencies.

The most captivating work in the exhibition was algorithm counter. This projected digital video resembled an odometer or slot machine with numerals arranged in three vertical columns that move at varied speeds and in different directions according to a score based on Dvorák’s New World Symphony. Presented in black-and-white to yield the raw appearance of analog, the video displays a brilliant and visually enticing blend of references to old and “new world” data systems.”

David S. Rubin, art critic


"Kio’s personal relationship to Post WW II Japan-US Cold War political history is a key component of both his art and writing. In historical and aesthetic terms – and this is a key facet of Kio’s research methodology – his bi-cultural heritage evokes the seminal Cultural Studies scholar Stuart Hall’s important distinction between our rootedness in, and uprootedness from, our home culture, usually played out in the dialectic between the New World and the Old, what Iain Chambers in Border Dialogues and Paul Gilroy in The Black Atlantic call the tension between cultural roots and diasporic routes (in Kio’s case the dialectic between the post-war demilitarization of Japan under Article 9 of the Constitution – whereby ‘the Japanese people forever renounce war as a sovereign right of the nation and the threat or use of force as means of settling international disputes’ – and his new, more “nomadic” and global identity in the US). As Hall puts it in a 1997 interview, ‘There is no single origin—and the movement outwards, from narrower to wider, is never reversed. It’s connected with the notion of hybridity, so it’s connected with the critique of essentialism. […] The history depends on the routes. It’s the replacement of roots with routes. There are no routes which are unified. The further back you go, something else is always present, historically, and the movement is always toward dissemination.’ This is a telling quote because it can be applied directly to Kio’s academic and studio research."

Colin Gardner, professor of critical theory and integrative studies, departments of art, film & media studies, history of art and architecture, comparative literature, University of California, Santa Barbara


"Coral Sea (The Unsung Battle of the South Pacific) is a 2-step exhibition mounted in the fall of 2019 and winter of 2020 in the Alfa Romeo Tango (A.R.T) gallery space in the claustrophobic interior of the battleship USS Iowa, permanently moored in Los Angeles’s San Pedro harbor. Coral Sea represents the latest in a series of projects undertaken by the artist that set out to explore trans-Pacific space/historical and cultural connections, and exemplifies Griffith’s rigorously nuanced and meticulously crafted approach to art-making and exhibition design. Combining paintings, graphic works, found objects, recorded sound, sculptural works and family photographs, the exhibition engages the bi-cultural lineage of the mutually opposed American and Japanese sides of his family history during World War 2, exploring intersecting themes of trauma and stale-mate through graphic metaphorical devices like his layered superimpositions of US and Japanese battleship blueprints."

Dick Hebdige, chair, departments of art, media theorist and sociologist, professor of art and media studies at the University of California, Santa Barbara.


“In a current artistic project, Griffith is exploring voice, sound, and language in relation to our responses to color. Selected as one of 80 artists for the third Aichi Triennale in Nagoya, Japan, in August 2016, Griffith is creating a “pan-national and “pan-sensory” installation called "White House." For the installation, he will coat the walls and floor of a gallery in the Aichi Art Center with gray felt, in a range of tones that suggest different values of color that may have once been there but have disappeared. The gallery will be empty except for a standing speaker at the center and 200 or so speakers mounted along the walls above a railing. He is collecting hundreds of short voice recordings of people reading verses or phrases about particular colors, borrowed, or “resurrected” from lost novels, poetry, song lyrics in different languages and dialects, with the aim of “breathing new life into what may be lost in generational transference.” Grouping these readings according to color, Griffith plans to use the multitude of diverse tones and tempos as notes to create a sonic composition, which will be fed softly through the small wall speakers at different rates and rhythms, creating a rainbow of whispers that will guide visitors through the space.”

Meher McArthur, art reviewer, critic


“The shape of the spines, with the vertical line of text, reminded Griffith of tanzaku. These are small strips of rice paper that are created for the ancient Tanabata festival (a ritual that persists today – one writes a wish on a tanzaku and hangs it on a bamboo pole that metaphorically bridges the Earth and the Heavens.) Although most of the spines were sourced from a crumbling box of Zola editions, and make the obvious connections back to his father’s occupation, there are other titles thrown in like a 1978 guide to “the personal computer changing your life”. In the end, “Disgruntled Zola” encapsulates a lot of the show: it seems random and determined simultaneously, producing a impression of flux and temporality. Rather than communicating a message per se, the thematic conflations in “in(poetry)2dexed” are as scrambled as the title, and comment poignantly on the proliferation of media and the challenges our culture faces in order to communicate. Griffith’s video coda to the exhibition, Algorithm Counter, tackles this idea head-on. Inspired by odometers, or the charmingly analog counter of a tape deck, the artist replaces the numbers on the tumblers with letters. The video captures the device rolling through series of three letter combinations that reference IM chat language (LOL, etc.) Algorithm Counter functions as a sort of random generator for the texting era, an

infinitely spinning poem that abstractly describes a world in free fall between a fear of disconnection, and a contrasting sensation of overwhelming frivolousness.”

Larry Gipe, art reviewer



“His salvaged book sculpture series, the visceral affect of sculpting is re-associated by space that occupies the sculpture. For Griffith, the modern masters of modernity work of art entail the act of much reading. In An American Tragedy 2017, a paperback with tape sculpture is structured as a literal statement with the cover’s original title as an instant message. Unlike the masters, it is a sculpture that embodies today’s post modern era of text messaging without the body of literature in the book as its vertebra. The instant text-like charge of the title carries a deep political reflection of today’s means of communication and current political circumstances in American politics. The original titles with minimal words nevertheless are strong and bold enough to stand on their own. It is a sculpture series that preserves some of its originality that accompanies the process of re-inventing while pushing the viscosity of the message in ones direction. Offshore Drilling Technology, 2017 is one of Griffith’s high viscosity book cover and tape sculpture that drills right into the core of environmental concerns.” 

Jimmy Centeno, art reviewer




2020  MFA  University Of California, Santa Barbara

1986  BFA  Otis / Parsons School Of Design


Selected Solo, Two and Three-person Projects

2021  playdate, Museum Of Contemporary Art Santa Barbara, Santa Barbara, CA

2020  no region would, Glassbox Gallery, University of California, Santa Barbara,  Santa Barbara, CA

2019  Coral Sea, Alpha Romeo Tango, U.S.S. Iowa, San Pedro, CA

2019  A Is For Anarchy, International Contemporary Art Project Ulsan, Ulsan, South Korea

2019  Operations Room, Rio Hondo College Art Gallery, Whittier, CA

2019  Tinfoil Recorder / I am Data, Minibox Gallery, University of California, Santa Barbara, CA

2018  Photopia / Scotopia, Tokyo Arts And Space, Tokyo, Japan

2018  Atlas Portal, Taiwan Academy Los Angeles, Los Angeles, CA

2018  [  ], CAI02, Sapporo, Japan

2018  makanai, PØST, Los Angeles, CA

2018  Naked City, JAUS, Los Angeles, CA

2018  in (poetry)2 dexed, LA Artcore, Los Angeles, CA

2018  Forecasting, Gallery O, Seoul, South Korea

2017  Mokushiroku (indexed poem), Roppongi 605, Tokyo, Japan

2016  Coral Sea: Ocean Story Told In The Mountain, Awai Art Center, Matsumoto, Japan

2016  Withering Heights, Kumagusuku, Kyoto, Japan

2016  White House, Aichi Triennale 2016, Nagoya, Japan

2015  Coral Sea, Roppongi 605, Tokyo, Japan

2015  Parabola, Gallery Tominokōji, Kyoto, Japan

2014  Whitehouse / Redroom, Gallery Lara Tokyo, Tokyo, Japan

2014  Project LALO, Project Number, London, UK

2013  24Flat6B, ADC Contemporary Art, Los Angeles, CA

2012  Espuma Cuantica, Centro Estatal De Las Artes Ensenada, Ensenada, Mexico

2011  Sunspot, ADC Contemporary Art, Los Angeles, CA

2010  Out Of Sight, Out Of Mind, Out Of Time, Eksobition Gallery, Pomona, CA

2008  Knock Knock, Gallery Rasen, Los Angeles, CA

2007  Lick The Beaters, Metropol, Los Angeles, CA



Selected Group Projects

2021  A Quiet Scene, Roger and Brian Eno collaboration live stream, The Music Center, Los Angeles, CA

2020  Living, CAI03, Sapporo, Japan

2020  London Biennale 2020, Virtual

2020  Artists and Poems, Durden And Ray, Los Angeles, CA

2020  Sayonara Shōwa Building, CAI02, Sapporo, Japan

2020  Mixing Colours, Roger and Brian Eno video project finalist, London, UK

2020  Phenomenology Of Hope, Supercollider, Los Angeles, CA

2020  Challenging Perception Of Rural Art, Slop Projects, London, UK

2020  Break Out!, LA Art Documents, Los Angeles, CA

2020  Dimensions Of The Sacred, Dijecta, Portland, OR

2020  Field Day, Art, Design and Architecture Museum, University of California, Santa Barbara, CA

2020  Double Play, GLAMFA 2020, Long Beach, CA

2019  User Preferences, The Wrong Biennial, London, UK

2019  Unbound: The Art Of Deterioration, De Saisset Museum, Santa Clara, CA

2019  Centennial: 100 Years Of Otis College Alumni, Ben Maltz Gallery, Los Angeles, CA

2019  In The Sky, West Los Angeles College Art Gallery, Los Angeles, CA

2019  Set Today / Set Future, Galeri Mod, Istanbul, Turkey

2019  Regime OF Images, Durden And Ray, Los Angeles, CA

2019  Life Of Brian, Benizakura Art Annual, Sapporo, Japan

2019  Restricted Access, Huddersfield Art Gallery, Huddersfield, UK

2019  Sound Pedro, Sound Pedro, San Pedro, CA

2019  1SSUE41, Art Spot Korin, Kyoto, Japan

2019  Transiting 2, Joseph Gross Gallery, University of Arizona, Tucson, AZ

2019  1SSUE41, Oriel Y Bont, University of South Wales, Pontypridd, UK

2018  The Colors I Remember, Museo De Arte Moderno Chiloé, Región De Los Lagos, Chile

2018  Submersion LA, Coaxial, Los Angeles, CA

2018  Between Two Seas, Arena 1 Gallery, Los Angeles, CA

2018  The Ghost Tide, Thames-Side Studios, London, UK

2018  Native: Manchester, Paper Gallery, Manchester, UK

2018  a heap of broken images where the sun beats, Aegean Center For The Fine Arts, Paros, Greece

2018  Neofluxus, BankArt Studio NYK, Yokohama, Japan

2017  New Phantasmagoria, Kyoto Art Center, Kyoto, Japan

2017  Native: Kyoto, Ozasa Art Office, Kyoto, Japan

2017  Transit Republic, Chiyoda 3331, Tokyo, Japan

2017  Transit Republic, Art Space Tetra, Fukuoka, Japan

2016  Native Tokyo, Roppongi 605, Tokyo, Japan

2016  Doppelganger, Torrance Art Museum, Torrance, CA

2016  LAnCV3, Coachella Arts Center, Coachella, CA

2016  Werewolf, Charlie James Gallery, Los Angeles, CA

2015  Tonalism, 356 Mission, Los Angeles, CA

2015  Uncanny, Muzeumm, Los Angeles, CA

2015  Ghostly Signs: Existential Bodies, Zerre Projects, Istanbul, Turkey

2015  Waterworks 2, Museum Of Art & History, Lancaster, CA

2015  Phlogiston, Split Museum Of Fine Arts, Split, Croatia

2015  Xinla Banshō: Forest Of Exponentials, Paul Loya Gallery, Los Angeles, CA

2015  Joshua Treenial, Box O Projects, Joshua Tree, CA

2015  Joshua Treenial, Integratron, Yucca Valley, CA

2015  Homing Pigeon, Antenna Gallery, Kyoto, Japan

2015  Inagural Show, Outpost Projects, Yucca Valley, CA

2014  Dragnet, Manhattan Beach Art Center, Manhattan Beach, CA

2014  Something Within, DAC Gallery, Los Angeles, CA

2014  i23, Yokohama Triennale 2014, Yokohama, Japan

2014  An American Water Margin, UCity Art Museum, Guangzhou Academy of Fine Arts, Guangzhou, China

2014  Waterworks, Porch Gallery, Ojai, CA

2014  Project LALO, Studio 1:1, London, UK

2014  In 2040, JAUS, Los Angeles, CA

2014  Reverb, Torrance Art Museum, Torrance, CA

2013  The Familiar Unfamiliar, Manual History Machines, Wonder Valley, CA

2013  A Marginal Revolution, Kuad Gallery, Istanbul, Turkey

2013  Remember The Days Of Being Wild, Moon Gallery, Hong Kong

2013  Mexicali Biennial 2013, Vincent Price Art Museum, Los Angeles, CA

2012  Derriere Le Rideau, Mathilde Hatzenberger Gallery, Brussels, Belgium

2012  Giant Robot Biennial, Japan America National Museum, Los Angeles, CA

2012  All In For The 99%, Ace Museum, Los Angeles, CA

2012  Bleach, Gallery Lara Tokyo, Tokyo, Japan

2012  Car Ride Is A Musical Score, Night Gallery, Los Angeles, CA

2011  Monsters Of Art, West Los Angeles College Art Gallery, Los Angeles, CA

2011  Above The Surface, Last Bookstore, Los Angeles, CA

2011  Seeing Through The Eyes Of Mona Lisa, Arena 1 Gallery, Santa Monica, CA

2011  Tegami, Kunstlerhause Hamburg Frise, Hamburg, Germany

2011  The Quotidian World, Cypress College Art Gallery, Cypress, CA

2010  Nine, West Los Angeles College Art Gallery, Los Angeles, CA

2010  Cup Thoughts 101, L.A. Municipal Gallery, Hollywood, CA

2009  Onibaba, Museum of Neon Art, Los Angeles, CA

2009  Soundwalk 2009, Soundwalk, Long Beach, CA

2009  IMLA, Terrell Morre Gallery, Inglewood, CA

2008  Fieldtrip, Spring Arts Collective Gallery, Los Angeles, CA

2008  Ebbs & Flows, Center For The Arts, Eagle Rock, Eagle Rock, CA

2008  Hollywood Apocalypse, Black Maria Gallery, Los Angeles, CA

2008  Found Sound, Los Angeles County Museum of Art, Los Angeles, CA

2007  Untitled, Infusion Gallery, Los Angeles, CA

2006  Up The Water Spout, New Image Art Gallery, Los Angeles, CA

2006  Baseline Project, Hangar 1018, Los Angeles, CA

2006  Buttons Up LA, NADFLY, Glasgow, Scotland

2005  Enjoy By:, Project: , Los Angeles, CA

2005  Asian Post, Track 16 Gallery, Santa Monica, CA

2004  Forgiveness, Long Beach Culture. Org, Long Beach, CA

2004  Skins, Galleria Dafne, Beverly Hills, CA

2003  Up Our Sleeves, Dublab, Los Angeles, CA

2003  Lead Poisoning, New Image Art, Los Angeles, CA

2002  Crazy Bastard, New Image Art, Los Angeles, CA

2002  Baobabroot, Lillian Theatre Gallery, Hollywood, CA

2001  Mark Your Territory, AIGA, Los Angeles, CA

2001  SOLA 2001, DNFA Gallery, Pasadena, CA



Curatorial Projects

2021  Dynaton, Museum of Modern Art, Kamakura & Hayama

2021  Horses, Candles, Angels Gate Cultural Center, San Pedro, CA

2021  Transit (weekly radio show),, Tijuana, Mexico

2020  Phenomenology of Hope, Supercollider, Los Angeles, CA

2020  AWMAS 2020, Alliance of Women In Media Arts and Sciences 2020, Corwin Hall, University of California, Santa Barbara, Santa Barbara, CA

2019  Manual Transmissions, Glassbox Gallery, University of California, Santa Barbara, CA

2019  Milestones, Roppongi 605, Tokyo, Japan

2019  points of departures, Japanese American Cultural Community Center, Los Angeles, CA

2018  Atlas Portal, Taiwan Academy Los Angeles, Los Angeles, CA

2018  Native: Manchester, Paper Gallery, Manchester, UK

2018  Shelf Life, Oote41221, Matsumoto, Japan

2018  Mexicaido, Naebono Art Studio, Sapporo, Japan

2017  Synchronicity, 18th Street Arts Center, Santa Monica, CA

2017  Moiré Fringe, Arena 1 Gallery, Santa Monica, CA

2017  Why Art Matters, Torrance Art Museum, Torrance, CA

2017  Native: Kyoto, Ozasa Art Office, Kyoto, Japan

2017  Transit Republic, Chiyoda 3331, Tokyo, Japan

2017  Transit Republic, Art Space Tetra, Fukuoka, Japan

2017  Futopia, BLAM Los Angeles, Los Angeles, CA

2017  here where you stood, Mintmoue, Los Angeles, CA

2017  Passage To The Future, Arena 1 Gallery, Los Angeles, CA

2017  The Ecstasy of Mary Shelley, Los Angeles Contemporary Exhibitions, Los Angeles, CA

2016  Fin_Between, Arena 1 Gallery, Los Angeles, CA

2016  Native: Tokyo, Roppongi 605, Tokyo, Japan

2016  Lazy Susan, Titanik Galleria, Turku, Finland

2016  Ufology, Outpost Projects, Yucca Valley, CA

2015  From The Barricades, Kreuzberg Pavilion, Berlin, Germany

2015  Riot of Flowers, Eastside International, Los Angeles, CA

2015  Xinla Banshō: Forest Of Exponentials, Paul Loya Gallery, Los Angeles, CA

2015  Reboot, ResBox, Hollywood, CA

2015  Metamorphosis Of Japan After The War, West Los Angeles College Art Gallery, Los Angeles, CA

2015  Paradigms, Kyoto Art Outlet Center, Kyoto, Japan

2015  Homing Pigeon, Antenna Gallery, Kyoto, Japan

2014  Dragnet, Manhattan Beach Art Center, Manhattan Beach, CA

2014  The Great Wrong Place, Sluice / Exchange Rates / Norte Maar, Brooklyn, NY

2014  Million Year Picnic, Gallery Fu, Yokohama, Japan

2014  There Will Come Soft Rains, Zaim Gallery, Yokohama, Japan

2014  I See You Never, Launch Pad Gallery, Yokohama, Japan

2014  Draftpunk 2, Mid Tokyo Gallery, Tokyo, Japan

2014  Draftpunk, Autonomie, Los Angeles, CA

2014  MAS Attack, Vast Project Space, Las Vegas, NV

2014  Head Grammar, Transition Gallery, London, UK

2014  To Klingon Or Not To Klingon, Campbell Works, London, UK

2014  Tip The Wink, Institute of Jamais Vu, London, UK

2013  Margin Release Right, West Los Angeles College Art Gallery, Los Angeles, CA

2013  A Marginal Revolution, Kuad Gallery, Istanbul, Turkey

2012  Bleach, Gallery Lara Tokyo, Tokyo, Japan

2011  California: Adulterated Landscapes and Deflated Icons, Raid Projects, Los Angeles, CA

2011  Home On La Grange, JAUS, Los Angeles, CA

2010  Yoshitake EXPE, Royal/T, Los Angeles, CA

2010  Umbrella, Metropol, Los Angeles, CA


Publications (author, editor, publisher)

2021   LUVA Zine, LUVA, London, UK

2020   “Surnormal: The New Way of Life,” Artscape

2020   Gathering Zine, Royal College of Art / The Design Museum London, London, UK

2020   After Illusion, London, UK

2020   Gravy Zine, London, UK

2020   Printed Matter Inc, New York, NY

2020   “Jessie Chaney, Memories Of A Space,” Fabrik, Los Angeles, CA

2020   Slop Projects, London, UK, Challenging Perceptions of Rural Art

2020   Psychasthenia, London, UK

2020   Comfort Zine, London, UK

2020   The Co 19 Project / Our Voices, London, UK

2020   Get Off Yer Arse, London, UK

2020   Dwell Time Special COVID-19 Edition, London, UK

2020   Vol 1: Street Architecture, Vocalesk Magazine, Toronto, Canada 

2020   Filler Issue 03, Manchester, UK

2020   “Genzou 4: photopia / scotopia,” BCCKS, Tokyo, Japan

2019   “Poyen Wang, License To Desire,” catalog essay, 18th Street Arts Center

2019   GhostTide, Thames-Side Gallery

2019   “The Undivided Line of Julio Romero,” introductory essay, Centro Cultural Tijuana, Tijuana, Mexico

2019   “Transit Republic,” associate chief editor, Art Bridge, Issue No.6

2019   Word Power: Language As Medium, Library X

2019   1SSUE 41, University of South Wales, UK

2018   “Layers Of Nature—Beyond The Line  Shingo Francis, Christian Awe, Sam Francis,”  catalog essay, Sezon Museum of Modern Art

2018   “Eliu Almonte, Huellas Dactilares II,”  catalog essay

2017   Art Bridge, Issue No.5

2017   “Porous, Transit Republic,” Art Bridge

2017   “The Gentrification Front and Symbiosis with Contemporary Art,” Artscape

2017   “Genzou Vol 1 + 2,” co-edited with Tamaki Hosobuchi, Yokohama, Japan

2017   IMMI, co-founded with Aparna Bakhle

2016   “bullet (p)roof • artificial interference,” catalog essay, George Billis Gallery, Los Angeles, CA

2017   “Dai Ito, Innuendo,”  catalog essay

2016   Art Bridge, Issue No.4

2016   “Ad Hoc L.A.: The Rebel Art Scene,” Titanik Magazine, Turku, Finland  

2015   The Tower by Jacki Apple & Helen Thorington

2015   “Contemporary Asian Issues”  guest chief editor, Artillery Magazine Jan/Feb 2015, Los Angeles, CA

2012-2018   “Fresh Faces In Art: Emergent Presence”  Fabrik, Los Angeles, CA


Work Experience

2017 to present  Associate Editor, Artscape, Tokyo, Japan

2017 to present  Founder, director, editor, Genzou, Yokohama, Japan

2017 to present  Founder, director, editor, IMMI, Los Angeles, CA

2015 to present  Project director, associate editor, Art Bridge Institute, Tokyo, Japan

2014 to present  Guest curator, art reviewer, The Japan Foundation, Los Angeles, Los Angeles, CA

2014 to present  Founder, director, editor, Tokyo + Yokohama Projects Exchange, Tokyo, Japan

2013 -2015  Guest editor in chief, associate editor, Artillery Magazine, Los Angeles, CA

2013 to present  Associate editor, Fabrik, Los Angeles, CA

2012 to 2017  Development Director, curator, art reviewer, ARTRA Curatorial, Los Angeles, CA

2008 to 2015  Founder, curator, art reviewer, CAFEMODE, Santa Monica, CA

2008 to 2018    Art director, curator, Angel City Arts, Los Angeles, CA

1998 to present   Principal, art director, graphic designer, writer,, Santa Monica, CA

1992 to 1996    Principal, art director, graphic designer, Griffith Design, Pasadena, CA

1986 to 1990    Art director, graphic designer, Dentsu, Young & Rubicam, Los Angeles, CA


Teaching Experience

2021 to present   Guest instructor, Tama University of Art, Tokyo, Japan

2018 to present   Guest lecturer, Teaching Assistant, University of California, Santa Barbara, Santa Barbara, CA

2015 to present   Guest instructor, Art Center College Of Design, Pasadena, CA

2012 to 2015  Adjunct instructor, West Los Angeles College, Los Angeles, CA

2010 to 2015  Adjunct instructor, Los Angeles Valley College, Sherman Oaks, CA

2004 to 2005  Adjunct instructor, Brooks College, Long Beach, CA


Bibliography / Reviews

2020   “Eight Views of the Sun Setting on the South Pacific,”  Contemporaneity, University of Pittsburgh 

2020    The Flux Review, London, UK 

2020   interview by Zeren Oruc, Iksvy Art Talks, Belgrade, Serbia   

2020   Fear: In The Sky by Nom De Guerre, West Los Angeles College Exhibition Catalog, CA   

2019   "1969 Woodstock Experience," by Makoto Andō, JazzTokyo, Tokyo, Japan   

2019    "Kio Griffith – Pyramid Standard Time at soundpedro," by Som Vilaysack,  Artsuze,  Los Angeles, CA   

2019    "Meet An Artist Monday : Kio Griffith," by Shana Nys Dambrot, LA Weekly, Los Angeles, CA   

2019   “Kio Griffith at Rio Hondo College Gallery,” by Genie Davis, Art And Cake, Los Angeles, CA

2019   “Genzou ‘photopia/scotopia’ Volume 4,” by Chihiro Minato, RealTokyo, Tokyo, Japan  

2019   “Atlas Portal: Poyen Wang + Kio Griffith,” by Lucy Birmingham, Artillery Magazine, Los Angeles, CA   

2018   "Atlas Portal" at the Taiwan Academy: Two Artists In Between Worlds,” by Shana Nys Dambrot,  LA Weekly, Los Angeles, CA

2018   “Atlas Portal: Poyen Wang and Kio Griffith at the Taiwan Academy,” by Lorraine Heitzman, Art And Cake, Los Angeles, CA

2018   “LA Artcore Union Center For The Arts – Kio Griffith: in(poetry)2dexed,” by David S. Rubin, Fabrik, Los Angeles, CA

2018   “Kio Griffith at LA Artcore ,” by Larry Gipe, Art And Cake, Los Angeles, CA  

2017   interview with Brainard Carey, Praxis Interview / Yale Radio WYBCX  

2017   “A Case For Art. Why Art Matters!,” by Lorraine Heitzman, Art And Cake, Los Angeles, CA

2017   “Passage To The Future: Art From A New Generation In Japan” At Arena 1 Gallery,” by Moj Mehr-Assa, Artillery Magazine, Los Angeles, CA

2017   “Studio Visit: Kio Griffith, Between Worlds,” by Gary Brewer, Art And Cake, Los Angeles, CA

2017   interview by Naoto Ogawa, Dommune Fukushima

2017   “Kio Griffith Responds to the Current Socio-Political Climate with “Transit Republic,” by Genie Davis, Art And Cake, Los Angeles, CA

2017   ‘The Ecstasy Of Mary Shelley at LACE ,” by Claire de Dobay Rifelj, CARLA, Los Angeles, CA

2017   “The Ecstasy Of Mary Shelley ,” by Ezrha Jean Black, Artillery Magazine, Los Angeles, CA

2017   “Words of Circumstance,” by Kiyokazu Washida, Asahi Daily News, Tokyo, Japan

2017   “Transconceptual,” by Ayumi Sekikawa, ACT (Arts Contemporary Taiwan), Taipei, Taiwan

2016    interview by Tamaki Hosobuchi, BankART Newsletter, Yokohama, Japan

2016    “Transconceptual,” Interview by Chihiro Minato, Art Bridge Volume 4, Tokyo, Japan

2016    “Shift And Fade at BLAM,” by Carolina A. Miranda, Los Angeles Times, Los Angeles, CA

2016    “Red Wheelbarrows and Whispering Rainbows: The Sonic and Visual Art of Kio Griffith,” by Meher McArthur, Artbound / KCET, Los Angeles, CA

2016    “Contemporary Artists Are Reinterpreting 17th-Century Japanese Erotica,” by Priscilla Frank, Huffington Post  

2016    “Finnegans Wake: a musical reading sounds out a cryptic text.” by Marta Bausells, The Guardian, London, UK  

2016    “Recreating Finnegan’s Wake,” by BORT, Tiny Mix Tapes, London, UK 

2016    “Hear James Joyce’s Finnegans Wake Read Unabridged & Set to Music By 17 Different Artists,” by Josh Jones, Open Culture, London, UK 

2016    “5 Must See Exhibits,” Angeleno Magazine, Los Angeles, CA  

2015    “Contemporary Asian Issues,” Jan/Feb, Guest Chief Editor, Artillery Magazine, Los Angeles, CA  

2014    “i:23,” Yokohama Keizai Shimbun, Yokohama, Japan

2014    “Revolutions per Minute,” Chaffey Review Volume 11, Los Angeles, CA

2013    “Margin Release Right,” Huffington Post, Los Angeles, CA

2013    “The Art Of Anthropophagy,” by Anuradha Vikram, X-TRA, Los Angeles, CA  



2020    University Of California Israel Levitan Graduate Fellowship

2019    University Of California Israel Levitan Graduate Fellowship

2018    University Of California Regents Fellowship

2016    Emerging Curators Award 2017, LACE (Los Angeles Contemporary Exhibitons), Los Angeles, CA 

2016    Curatorial Project Grant, Frame Contemporary Art, Helsinki, Finland 

2002    Certificate Of Design Excellence, Print, Design Annual, U.S.A

2001    Certificate Of Merit, Society Of Illustrators, Los Angeles, CA



2020    Lucas Artist Residency, Saratoga, CA 

2018    Tokyo Arts And Space, Tokyo, Japan 

2018    Benizakura Arts Annual Residency, Sapporo, Japan

2018    Lucas Artist Residency, Saratoga, CA 

2017    Okinoshima Project Residency, Shōdoshima, Japan

2017    Lucas Artist Residency, Saratoga, CA 

2016    Awai Art Center, Matsumoto, Japan 

2016    Titanik Residency, Turku, Finland



Los Angeles County Museum Of Art, Los Angeles, CA

Lorraine Heitzman, Los Angeles, CA

Atsuko Tsukada, Tokyo, Japan

Marlene Pickard, Los Angeles, CA

Shingo Francis, Yokohama, Japan



©2001-2020 Kio Griffith. All Rights Reserved.