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Dean Kelly was
born in Galway in 1977, and grew up in Loughrea. His family moved back to Galway City at the
time he was to begin secondary school, which he feels was something of a
personal hibernation. He studied for a
Diploma in Art & Design under Hugh McCormick and it was there in Galway RTC
that he found friends, a milieu, and a confirmed purpose - he had never
consciously 'chosen' to make art; it had always just been something he did and
had to do, but here he found that it was something that he could pursue in
earnest.
Kennys afforded
him ongoing employment as opposed to the less regular work in design, theatre
and prop making. This security allowed him time and the mental space to focus
on his personal fine art work at a time when he was also beginning family life.
Constancy in his work life meant he could plan towards his future as a painter.
During his time
with Kennys Dean has been privileged to work closely with numerous successful
and influential artists who continue to inspire and
encourage him.
He has
exhibited in numerous group shows - most notably with John Behan RHA in 2005
(invited by the sculptor with the ‘core’ artist collective – of which he is a
founder member). His work is held in private collections in Ireland and abroad,
including that of the Galway Mayo Institute of Technology and Galway City
Council.
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Dean Kelly's method involves his combining those elements to which he feels most attracted – drawing, and a
respect and reliance on traditional methods is allied with an increasingly
loose painterly aesthetic, which supersedes his previous over-cautious and
tentative method. The graffiti inspired paintings of Jean Michel Basquiat, along with the child-like work of Paul Klee and
Jean Dubuffet influence him greatly, and these 'freer' artistic forms, with
expressive colour and mark-making, are combined,
collaged, layered and juxtaposed using mixed media with elements of graphic
design, tight representation, symbolism, imagery, and allusions to mythology,
history, religion, politics or images of everyday family life.
The end result expresses those ideas, notions
and theories that form the artist’s conception. He increasingly finds worth in the accidental, harnessing the intentional or directed ‘mistake’ – looking to Bacon in his application or to Pollock in his
strategy, if not aesthetic.
modus operandi?
“This is a difficult business. I suppose the most
trying aspect in this post-post-modern era is the challenge of being original. I
don't necessarily sign-up to Damon Albarn's adage
about post-modernism taking those things that went before and re-hashing and
re-presenting 'in a knowing kind of way' - this is perhaps too mercenary or
cynical. I never did take solace either from the idea that because all of the
artistic peaks had already been traversed during the 20th century, in a way we
were now 'free' to do what we like as artists... a bit too open-ended for my
blood - and it always leaves me with a kind of hollowness - like hearing that
Amundsen had already reached the pole using dogs or something! It means that
the world leans back and dares you to impress. Also, the fact that 'anything
goes' now is all too often used as an excuse for presenting poor work, which
jades the eye of a viewing public.
In this time of post-simple-representation, the
individual statement of the artist has gained increasing importance. One could
argue that the ideas and reputation of the artist are as important as the
visual quality of the work - with this in mind our challenge is to hopefully
appeal to enough people while making your own statement to make it worth doing.
It is a very lucky practitioner who has the public on-side while doing exactly
what they want to be doing.
I don't see it as my particular job to recreate
the world as we (that are blessed with the ability to) see it through our eyes,
and to fix the same in relative permanence of oils on canvas no longer
fascinates or occupies me as it may have done in the past. I am perhaps
immodest or brazen enough to imagine that my ideas are worth bringing into the
work, and that perhaps others of a like mind or who see something intriguing or
beautiful or interesting or quirky or challenging or nostalgic in the work may
just wish to continue the experience and take one home with them.
For me it is not a fun experience - it is not a
hobby or a relaxing or therapeutic experience in any way - only perhaps in that
making art for me is like the easing of a need - it is necessary every day,
although it would be overstating it to say that it is as necessary as air or
food is or something... rather, and not speaking from experience, it is like a
junkie getting their fix - it eases an ever-present niggle. It is hard work,
but to be worthwhile it should be hard work. Every mark made is like walking a
tight-rope; when you are in the moment you certainly let things flow, but there
needs to be a constant refinement and a self examination of a most intense
manner.
There are pit-falls all along the way too -
getting stuck in an artistic rut - getting pigeonholed in a particular style
that becomes economically rewarding and difficult to then leave behind even
after the muse has gotten up and left the room... there is the difficulty of
finding your own voice, and knowing what this voice says to you, and how it is
distinct from the sum of those myriad influences we are bombarded with on a
daily basis in the media.
Aside from method and intention there is also the aspect
of subject - I suppose there is a courage required in overcoming one’s own,
at least my own, previous tendency to hide my own private life and to bring my
ideas, theories, thoughts and feelings about things into the realm of public
representation. In my own case, I may have no shortage of things to say or
ideas to paint - but I did have to break down that wall of self preservation in
branching into the ‘personal’. It matters little that you express yourself as
you wish if you are not bringing anyone along with you - every artist also
needs that bit of luck that the particular expression they are happy making
also happens to be liked, appreciated, and eventually bought by others!
I was also shy of bringing any aspect of
personality into the work because I felt that I hadn't sufficiently
demonstrated my basic ability - served my apprenticeship, so to speak. I felt
that I couldn't be seen to 'try things' before showing that I could just paint.
But this was second guessing the viewer and risking appearing schizo if I then switched to the type of work that I was
just waiting to produce. Better to trust my ability and begin as I mean to
continue...otherwise you could get inextricably linked to a style not from your
soul. I suppose that I had been aware of public (and perhaps at that time my
own) misgivings of what might be perceived as modern, slap-dash, perfunctory,
amateurish, abstract (a much overused term), and it could be all too cozy to
play to the gallery (excuse the pun) - a greater risk to be true to your own
aesthetic proclivity. In other words, it would always be easier to paint - if
all you are concerned with is other's approval - that which is purely
decorative, readable and approachable. It is understandable, and safer to work
with a mind to pleasing others - but to paraphrase Lincoln, we should not
attempt to please all of the people all of the time - so maybe we should please
ourselves, as we will no doubt bring some of our viewers along with us in any
case, and those that we do bring in this instance are more likely to appreciate
you for your individuality! There is a certain wearing your heart on your
sleeve in having this attitude to your work - and not a little ‘neck’ to be
creative in general - you are essentially saying to the viewer, 'here is
something I have made, look at it, and appreciate it', and perhaps if I am
honest, 'appreciate me please... '.It is the most public of art forms. The
novelist can tuck a lot between the covers of their latest book, but the visual
artist puts it all 'full frontal'. We take a risk every time we put ourselves
out there - but we should not let this fear hamstring expression.
One must also get past the fear of ruining that
which you are in the middle of creating - to let go and trust your own ability come
what may, without becoming blasé, is tough.
In an increasingly busy life, time constraints, new
duties, priorities are all things which we must take on board. We have
recently had an addition to the family and this responsibility and curb
to time has enabled, much to my surprise, a freedom of
expression, as ‘art’ is suddenly not as high on the pecking order. I can relax
more in the execution - because everything is suddenly recontextualised
- while there is a pressure to be creative between the hours of such and such,
in my case I find that this pressure, and indeed the deadline of exhibition
forces one to take artistic leaps of faith, not to put things on the long
finger and just get the work done and put it out there in a way that I might
not have otherwise. A deadline has a way of creating focus. If you had endless
time you could prevaricate and repeat yourself and dawdle... these are all
things we have to deal with as working artists, and I suppose that all of these
pressures and opportunities and factors have led to my current means of working
- hence the title for the show."
I would like to thank Tom Kenny for this
opportunity and all at Kennys for their friendship and encouragement, and to
dedicate this exhibition to Dagmar and Oliver for their love and unstinting
support.
DEAN KELLY 2008
“”
“I am impressed with the graphic skills as per
usual, and also by the expressive power of the imagery. The work is strong, being both subtle yet
positive at the same time. The ones that
satisfy me most are the portraits – Self Portrait, Study towards the Head of a
Boxer and Ophelia. The ‘Boxers’ and ‘Pin-up’ series are very successful
and well realized”
JOHN BEHAN RHA, August 2008
"Dean Kelly's paintings are strong - very
male. They are original, and he is very much himself in this collection... he
is interested in everything, and I like him."
PAULINE BEWICK RHA Aosdána, in conversation July 2008
"I must start by drawing your attention to
the work of Dean Kelly. I was particularly struck by this important work. It
chronicles and evinces the rapid change of our society of the late 90’s and is
an important record. It deals with the constant ebb of ephemeral culture...
that history and constant stripping away. One can also see a developed
sensibility - like the work of a young Willie Doherty - capturing what we live
with - an abiding account of life. His paintings show a confident treatment,
with a contemporary approach to traditional materials, media and modes."
MICHAEL D. HIGGINS T.D., 2004
"These are really layered images...
powerful... complex and interesting. Although, I'm
particularly fond of 'Dog's Abuse' - a lovely composition reminiscent of Gwen
John. In this one less is more - much has been eliminated. Well
done!"
JOHN KINGERLEE June 2008
"Dean Kelly... Gamekeeper turned
Poacher"
CAROLINE WALSH Literary Editor, The Irish Times, 2007
“Ophelia, Starlet and Negative Equity are very solid,
with excellent tone and construction. Use of texture of particular interest… mature, whilst still retaining an experimental innovative
design”.
KENNETH WEBB RUA FRSA RWA, July 2008