Brian Kelly

My work employs an organic, expressionistic approach to natural forms, which is at once lively, colorful and rich in paint application.
It is my belief that a work of art should reflect an artists’ personality and act as a bridge into his or her spiritual life. That is why I have chosen abstraction as a means of expression. I feel that an expressionistic art requires an intellectual reading that cannot be discerned by any conventional means of looking. It needs to be felt and requires a private dialogue between viewer and painting with the experience being largely meditative.

In my abstractions my aim is to present the viewer with a sense of the energy and flow of landscape elements but not resorting to realism, which I feel tends to limit a viewer’s dialogue with the paintings.


Portfolio:

2016

My work employs an organic, expressionistic approach to natural forms, which is at once lively, colorful and rich in paint application.
It is my belief that a work of art should reflect an artists’ personality and act as a bridge into his or her spiritual life. That is why I have chosen abstraction as a means of expression. I feel that an expressionistic art requires an intellectual reading that cannot be discerned by any conventional means of looking. It needs to be felt and requires a private dialogue between viewer and painting with the experience being largely meditative.

In my abstractions my aim is to present the viewer with a sense of the energy and flow of landscape elements but not resorting to realism, which I feel tends to limit a viewer’s dialogue with the paintings.

Spring II “Spring II”

My work employs an organic, expressionistic approach to natural forms, which is at once lively, colorful and rich in paint application.
It is my belief that a work of art should reflect an artists’ personality and act as a bridge into his or her spiritual life. That is why I have chosen abstraction as a means of expression. I feel that an expressionistic art requires an intellectual reading that cannot be discerned by any conventional means of looking. It needs to be felt and requires a private dialogue between viewer and painting with the experience being largely meditative.

In my abstractions my aim is to present the viewer with a sense of the energy and flow of landscape elements but not resorting to realism, which I feel tends to limit a viewer’s dialogue with the paintings.