I love to paint objects. The still life paintings I create for myself include antique and vintage, sometimes kitsch, sometimes creepy, sometimes random, items. These are the things I love to look at, the things I collect and surround myself with. On canvas, I surround them with abstract elements, exploring personal connotations and meanings of the objects and their history.
My love of things, arranging them, lighting them in a way that highlights the intricacies of the item, creating shadows that interest, that could capture some other mystery, makes me also want to capture other peoples’ objects and immortalize them in oil paint. Do you own a cherished heirloom item or items that you’d like to share with other members of your family? All of you can’t have the same clock on your mantel, or your grandmother’s babydoll on your shelf. I could compose these items in a significant and sentimental commissioned work just for you! So someone in your family can own the cherished object and someone else can display the unique painting of it.
This past summer I painted for my step father. I looked around his house and selected items that said “Moe.” A metronome, an hour glass, his grandfather’s pocket watch, his mala beads, I combined these things with a small clay vase of fresh roses in rich red to add the vibrancy of life. And a bug crawls up the front of the table, just for fun. I call this painting Time for Moe.
It was a great show and a fun first friday/opening event. I love Chakras!
No intention. Movement. Make a mark. Meditative but spontaneous, energetic, allowing. Step back and look. Feel. Respond. I let go and let things happen and accept and interpret later.
A flame emerges, then a figure behind it. Light requests to be present on the second canvas. The same colors start to appear in both canvases, a tiny echo of one in the other. Lots of layering and light and dark colors create depth and space. Bold brushstrokes and palette knife marks contrast with subtle detailed areas.
And I get lost in the marks I’ve made – masses of of smooth color and the interaction of the colors.
Two paintings. One darker, almost ominous, visceral. One lighter, earthier, greener.
A misappropriated menagerie of items: a puppet, a porcelain doll, a sewing box, a brass bell, an iron parrot – remnants of my childhood where dysfunction is the family heirloom. These objects are combined with abstract elements, integrating still life and abstract expression, recreating childhood scenarios.
I work on both the abstract and the representational alternately in order to help them harmonize, to create a transition between these elements that is both convincing and dysfunctional. I invent still life environments on the canvas, emphasizing light and shadow, with disjointed plains, to foster feelings of dissociation. Abstracted items convey a lack of object constancy. Are these environments real? Are people or objects consistent, trustworthy, reliable? …Questions a small child ponders while learning to navigate in the world and realize their place within it.
These works encourage you to question the validity of your own perceptions, and also to reminisce. Whimsical clowns and a coquettish kewpie doll instill a sense of childish playfulness, asserting that there is still good among the wreckage.
Conjuring the melancholy of past desires, embers long grown cold, abandoned objects ask me to paint them shadowed by the lives of the people who loved and left them. Embodying triumph and tragedy, the objects are all that’s left of those who have gone on. They haunt me, taunt me, remind me of what slipped through my hands by a rope thrown over a metal beam, pulled taut, constricting breath, a magnificent life no more. They are the last vestige of stories lost once voice is stilled. https://guilford.digication.com/kellytaylor/Thesis_Work/published