I have happily spent the day printing papers and fabrics on my Gelli Plate using the Cell Theory Stencil (mostly). Working with these papers has been so big and fun for me in the last few months. Many of you know I am a paste paper addict, nothing thrills me more than to paint papers all day. This is a variation on that theme, and a way to meditatively make art and not think too much. My cerebrum needed a break.
Creative Heartwork These colours have been calling me for some time – desert, heat, earth (O I wish, after this long grey winter). And the snake symbol still powerful for me, still shedding, letting go. Gelli plate prints in liquid acrylic, torn and collaged paper, hand-made stamps.
I’m drawn by the energetic use of color. I rely on the tension between the spontaneous and the considered, the accidental and the consciously executed. I hide very little. My methods are evident as I cover and uncover, delineate and sweep over the shapes on the canvas. Defining my work is restrictive and limiting to a fluid evolutional process. I am influenced by the world around me, ranging from other artists to philosophical ideas to the mundane. I don’t know all the motives that draw me…
Kelly, Robert Talbot Burma Painted & Described London: Adam and Charles Black, 1912 Nicholas M. Williams Ethnological Collection John J. Burns Library of Rare Books and Special Collections, Boston College