Art Space Talk: Todd Kelly

Todd Kelly has stated that painting is largely about imagination, momentary inspiration, present consciousness and serendipity. He firmly believes that painting can make the world a better place. Todd lived in London for a few years. While there he was involved with several exhibits in London, including exhibits at the National Portrait Gallery and Seven Seven Contemporary. He has recently moved back to New York. Todd studied at Anderson University and the School of Visual Arts.

Sous-bois #2, 2007, oil, acrylic, spray paint & collage, 24' x 18'

Brian Sherwin: Todd, I read that you studied at Anderson University and the School of Visual Arts in NYC. What can you tell us about your academic background? Did you have any influential instructors? Do you have any advice for students who are considering these choices?

Todd Kelly: Anderson University is a church related school I chose because of my upbringing in an extremely fundamental Christian church. The school, considered rather liberal by the church I left behind, was perfect for me as a way to begin stepping out of a boxed-in existence and eventually make my way to New York. Anderson U. had a surprisingly good art program at the time and there were two key instructors, Jason Knapp and Kathleen Dugan, who were instrumental in my development. Knapp was like a demanding, belligerent art dad always demanding more and never doubting that it was possible and Dugan played the art mom spending loads of time helping me develop personally and artistically and nagging me to apply for everything everywhere until I got accepted.

For my graduate work I went to the School of Visual Arts specifically because I was madly in love with the work of Jessica Stockholder at the time and she was teaching there. On the first day of class I excitedly told her why I was there. She laughed and told me a story about meeting an artist whose work she loved but he proved to be rather uninspiring so she told me was better to just focus on the work. I think she was right.

The most valuable aspect of getting a grad degree is meeting other artists and beginning to build a network. No one ever told me this. I worked two jobs through grad school and spent the rest of the time in the studio. I’ve had to play catch-up with my social art skills ever since. If I had it to do all over again I would definitely choose a more affordable school and spend more time just hanging out with fellow artists.

Sous-bois #4, 2007, oil, acrylic, spray paint & collage, 24' x 18'

BS: Todd, you have had several exhibits in London, including exhibits at the National Portrait Gallery. What do you enjoy most about exhibiting? Has exhibiting helped your work to mature-- as in the feedback you take in from observers?

TK: Well, I love the attention, to be honest and, of course, it’s great to get feedback from viewers. Such things help me justify all the time and money I spend making paintings, but I’m still not certain how it helps the actual process of making a painting. When I make work it’s just me inside my head letting it come out. I think any maturity in my work has come from changes that have happened to me personally. I recently left London and moved back to New York and since the move have shown my work very little. Often I invite a group of friends over to the studio for drinks and that has seemed like enough of a ‘show’ for me right now.

BS: You have created several series of paintings. I must say that I enjoy the landscape series and Rocky Valley series the most. Why do you enjoy working in series?

TK: I don’t really start on a work with the thought that it will make a good ‘series’. Painting is largely about imagination, momentary inspiration, present consciousness and serendipity. I start a painting always believing it will end up at a certain place but it never does. So I start it again. Before I know it I have a series on my hands, each piece coming closer to the original idea and simultaneously suggesting a new approach.

Last September I made myself stop working on the Cezanne inspired Sous-bois paintings because I was afraid of being trapped in the same painting forever. I spent about six months working on paintings with my name in them and then almost without realizing it started painting the Sous-bois thing again. Evidently, there is still loads to work on in that Sous-bois series.

Sous-bois #6, 2007, oil, acrylic, spray paint & collage, 24' x 18'

BS: What can you tell us about your art in general? Gives us some insight into the thoughts behind the work...

TK: The magic of painting, whatever else might be going on with the image, is primarily the creation of space on a flat surface. I’ve been fascinated for a while now with the work of Cezanne, particularly a painting titled ‘Sous-bois’ which translates into something like ‘underbrush’. It is composed of a loose arrangement of marks that appear to depict the dense interior of a forest. I’ve been making my own series of paintings titled ‘Sous-bois’ in which I layer marks to create a sense of space.

Since moving back to NY I’ve become interested in the way a graffiti artist creates space by tagging a location; the creation of space by claiming it. I’ve been working on a series of paintings that use my name and initials in the composition. Spatially, the paintings are flat but wherever they hang they create a space that is particularly mine. I think, in all honesty, that is what every artist seeks. Not just the depiction of space on a flat surface but the creation of a space that can be named as one’s own.

Abstracts #1, 2008, oil, acrylic, spray paint & collage, 24' x 18'

BS: What about influences? Are you influenced by any specific artists or art movements?

TK: My influences change over time. Early in my high school days I came across a section of books in the local library about Warhol, Johns and Rauschenberg. I loved looking at those books; I loved looking at what these guys were doing compared with the high-minded essays being written about them. It seemed like they were getting away with something!

A couple artists I love looking at right now are Laura Owens and Katherine Bernhardt. When looking at their work I have a sense that they have really been there and this thing really happened as a product of the moment.

Abstracts #2, 2008, oil, acrylic, spray paint & collage, 24' x 18'

BS: What are you working on at this time? Can you give our readers some insight into your current work?

TK: I’ve just stretched three more canvases with the intention of carrying on the Sous-bois series. Now that there has been a six-month break since the last Sous-bois painting I’m calling them ‘abstracts’. Also, I’m continuing to work out some paintings that use my name or initials as a takeoff on the graffiti idea. That’s pretty much what is happening in the studio right now.

Abstracts #3, 2008, oil, acrylic, spray paint & collage, 24' x 18'

BS: Finally, is there anything else you would like to say about your art?

TK: Maybe I’m just holding on to youthful naivety, but I still think that painting can make the world a better place.

You can learn more about Todd Kelly by visiting his website-- www.toddkellyart.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews.

Take care, Stay true,

Brian Sherwin