September 16, 17, 18, 2019
We will paint the easiest way possible. By means of collage. We will begin with pure abstraction. Making shapes, and arranging these into multiple compositions. Arrangements that excite us. These will be scanned and printed, again and again, each time adjusting them through additional collage. From there we will begin to invent subject using similar abstract shapes. Then, using similar methods, we will work on reproductions of what we do, applying painted paper to prints to adjust the shapes. Alteration, repair, whatever term you prefer. We will rework our own work, masterworks, and works of our fellow artists. It is the underlying abstraction, be it a thing, a place, a person, that must excite. It is what needs to be strengthened. To further understand our paintings, we will recreate them as sculptures using corrugated cardboard and then work from these. Everything adjusted and readjusted via a scanner/copier. All in the belief that with a little alteration, what we might have discarded, can become our best work.
“I tend to like paintings where the abstraction is strong. By this I mean that the paint, the colors and shapes, are distinct, like strong actors in a play. Going towards abstraction does not mean going away from representation, from realism. It is more like describing something real by other means than illustration. It is like describing an apple with your hands, forming the shape in the air with your hands, by enclosing an imaginary object with two hands. You do not try to make your hand look like an apple. Paint takes over the role of the hands and does not hide the fact that it is paint. Painting is talking with the hands made permanent.” Ken Kewley
KEN KEWLEY graduated from the College of Creative Studies at the University of California, Santa Barbara. He was a night watchman at the Metropolitan Museum of Art 1980-1990. In New York his work has been exhibited at Lori Bookstein Fine Art and Pavel Zoubok. He teaches workshops and lectures at the Pennsylvania Academy of Fine Arts. In addition, he has given his workshops in art schools, universities and museums both in the United States and Europe. His work has been reviewed in the New York Times, New York Sun, ARTnews, and the New York Observer and included in many private and public collections. The artist and his workshops were featured in the December 2017 issue of Artist’s Magazine.
Full cost of this workshop is $630. A 50% deposit is required to hold a spot. Refund policies can be found on this website. Contact email@example.com with questions or to register.