KYOTO/AMERICAN PAINTER, DANIEL KELLY: DEPTHLESS PERCEPTION

Painter Daniel Kelly. Kelly, who names Kyoto "his library" at age seventy-six grapples ceaselessly with the painted surface, is discussed. Kelly has spent the greater part of his life residing in Kyoto, Japan, where he has built a career painting and printing what he sees in this "lib...

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Bibliographic Details
Published inArts of Asia Vol. 54; no. 1; p. 48
Main Author Goodall, Hollis
Format Journal Article
LanguageEnglish
Published Kowloon Arts of Asia Publications Ltd 01.04.2024
Subjects
Art techniques
Collage
Kelly, Daniel
Optical illusions
Painters
Prints and printmaking
Visual perception
Japan
Kyoto Japan
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Summary:Painter Daniel Kelly. Kelly, who names Kyoto "his library" at age seventy-six grapples ceaselessly with the painted surface, is discussed. Kelly has spent the greater part of his life residing in Kyoto, Japan, where he has built a career painting and printing what he sees in this "library." His approach to his subjects is based on experiments with visual perception and illusion: the distortions that one sees when viewing an object at extreme close-up or with strong foreshortening, in skewed framing, or when arching back to see objects suspended above. Many subjects are brought to monumental size, a further distortion to play with the mind. By the late 1990s, his relief collage paintings often bore cut tatami mats, woven slats of wood matting, veneers, or bits of bamboo, larger sections placed at angles to create an illusory three-dimensional setting for his main motif. In the last 13 years, Kelly has concentrated mostly collaged paintings, completing over 70 of them, and about 20 prints.
ISSN:0004-4083