An Eternal Present and State of Being

Kelly Ingleright-Telgenhoff

November 4 - 26, 2016

Reception: Friday, November 4, 2016; 6 - 9pm

     My paintings, drawings and fiber works explore the duality that exists in life.  I often pair the beautiful with the grotesque, the real with the abstract, the minimal with detailed, the boundless with the bound, and desire with loathing.   Mentally contemplating and evaluating the dual nature of objects and their meaning provides a thoughtful, cathartic, and creative journey.  As I work, I ruminate over how to create a special tension in a mundane object. My entire painting, drawing or sculpting process hinges on double and triple meanings-- word or mental puzzles that keep me mentally sharp because I want to create something that is more than the sum of its parts, while referencing dualities found in life experiences. 

   Finding a way to elevate common everyday objects is the goal.  The objects depicted in my work become iconic forms—they transform and transcend their original meaning and purpose.  At times the items depicted are moldy, decaying, or just plain distasteful, yet they possess some type of beauty because of the way the item is manipulated on the canvas.  By creating a simplified background that is coupled with a detailed rendering of a highly detailed subject placed in the foreground promotes a push-pull tension.   Often I expand an object several times beyond its actual size which is another way to elevate the object into some monolithic form.  This extreme enlargement of the chosen item leads to a special level of abstraction even though the object from a distance is recognizable.

      Creating the intersection of abstraction and realism certainly adheres to my concept of duality.  While I do use a traditional academic system of under painting, the hues utilized are simply different shapes and forms placed next to one another if seen close up; however, upon standing ten feet away from the work, the subject comes into focus as a whole piece with slight nuances of color change and a tight form. 

    Narrative scenes are an important component of my work.  I enjoy a good story—this probably connects to years of teaching as an Art Historian and Historian and my love of detail.  While the scenes depicted are not quite real, although they may seem familiar, they are more surreal due to distortion of space.  It is this in-between space where the arcane, sublime, and eerie tension exists and speaks to my overriding sense of dread. -- Kelly  Ingleright-Telgenhoff

 

 

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