Philip Kelly, Courtesy of Sanderson Contemporary
Photo Credit
RPM is a selection of new paintings that continue to mine the relationship between sound and image. Works in watercolour, acrylics and oil are gathered in small groupings and sequences to explore the relationship between analogue and digital processes, emerging as a group of ‘sound paintings’.
These images may be viewed as analogous to chords or sound effects. The distortions and treatments in the paint signal the processing of the sonic qualities of recorded sounds, like effects pedals used to treat guitars or keyboards.
The watercolours are composed with the use of a turntable as a mechanical aid. A machine for DJing becomes an instrument for painting. Both mechanized and manual approaches are found together in the larger canvases as metaphors for digital and analogue processes. Alternating rhythms and techniques work to resolve themselves in a unified field within the painted surface. The larger works are developed using a ‘call and response’ approach where ongoing photographic documentation and Photoshop manipulation are used to develop the finished compositions.
Philip Kelly is an artist, musician and designer with a Diploma in Visual Communication Design from Wellington Polytechnic School of Design and an MFA (1st class Honours) from Elam School of Fine Arts, Auckland University.
Opening Hours
- Monday - Friday, 10am - 6pm
- Saturday - Sunday, 10am - 4pm
Address
- Osborne Lane, 2 Kent Street
- Newmarket
- Tāmaki Makaurau, Auckland, 1023
RPM is a selection of new paintings that continue to mine the relationship between sound and image. Works in watercolour, acrylics and oil are gathered in small groupings and sequences to explore the relationship between analogue and digital processes, emerging as a group of ‘sound paintings’.
These images may be viewed as analogous to chords or sound effects. The distortions and treatments in the paint signal the processing of the sonic qualities of recorded sounds, like effects pedals used to treat guitars or keyboards.
The watercolours are composed with the use of a turntable as a mechanical aid. A machine for DJing becomes an instrument for painting. Both mechanized and manual approaches are found together in the larger canvases as metaphors for digital and analogue processes. Alternating rhythms and techniques work to resolve themselves in a unified field within the painted surface. The larger works are developed using a ‘call and response’ approach where ongoing photographic documentation and Photoshop manipulation are used to develop the finished compositions.
Philip Kelly is an artist, musician and designer with a Diploma in Visual Communication Design from Wellington Polytechnic School of Design and an MFA (1st class Honours) from Elam School of Fine Arts, Auckland University.
