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Kevin graduated from California State University, Northridge in 1984 with a BS in Business administration, then again in 1987 with a BA in art with an emphasis in sculpture.
Attempting to break down the barrier between two and three-dimensional artwork in the mid 1980s, Kevin created a series of work called Environmental Painting. He moved to Venice Beach and worked with Judy Baca volunteering at SPARC gallery and participating in various exhibitions throughout the 1980s.
In this series he converted simple line drawings into brushstrokes suspended from the ceiling at various distances from the wall.
These paintings were installations in which the brushstrokes, when viewed from most positions in the room, would look like non-objective, figurative sculptures. However, when viewed from the front, all of these minimalist brushstrokes would visually merge to form a two-dimensional painting against the canvas on the wall.
Here Kevin’s goal was to pull the actual paint from the canvas and convert a traditional two-dimensional material into a three-dimensional sculpture, capable of being experienced within that environment.
Once accomplishing this in the 1990s, Kevin decided to further explore the dissolution of the borders between two and three dimensionality by focusing not just on the material of paint, but on the canvas itself.
For hundreds of years, canvas has been held hostage to the confines to the two-dimensional surface, most often to a rectilinear shape on the wall, where only the front of the canvas could be viewed.
Even as a kid walking through museums, I was often more intrigued with the actual structure of the canvas then the painting on the surface. I wanted to peer behind and see the stretcher bars but was seldom able to do so, and was left soley to my imagination.
Kevin created a series of what he termed Canvas Constructions, in the 1990s, in which he built shaped canvas and placed them away from the wall, to be viewed from all angles. He would stretch white canvas over his custom-built stretcher bars and leave the reverse side unfinished, specifically to be viewed. In 1997 Kevin presented his canvas constructions as a solo exhibit at the Oviatt Library at CSUN, the first time any artist was their own exhibition at that location.
I installed twelve canvas constructions in the lobby of the library, with my largest and most challenging work, The Kiss, installed directly outside the main doors to the library. Many were large free standing works such as “Two Leaning Canvases,” and “Floating Triangle,” while others were smaller table top sculptures, all pure white canvas on one side, and the raw unfinished structure of the stretcher bars one the reverse.
During the opening reception people would come up to me and ask when I was going to complete the sculptures and wrap the canvas across the back as well. Nobody could understand the reason I intentionally wanted to leave the reverse sides unfinished. I thought it humorous how many people were really disturbed by having to view the reverse side, which would normally be hung against the wall in traditional canvases, and neatly out of view.
Earlier that year I was asked to bring “Floating Triangle” to an “art” gallery in LA to be included in an upcoming show. The owner wouldn’t allow my work in the show since as he put it, “I can’t have my clients exposed to your unfinished work by leaving the reverse side uncovered.” All I could say was, “You must be kidding. You certainly can’t be serious.” Needless to say I walked out in frustration and disgust.
During this period Kevin engaged in collaborations with two painters, both with different personalities, yet very similar in subject and style. First, with Jerry Digney in which Kevin created a second version of “Floating Triangle.” Jerry was currently working with pastel and decided to cover the all white surfaces of my canvas construction with figurative images, all in pastel. The end result was quite beautiful and dynamic. However, one gallery owner prohibited it from being viewed in his upcoming show in fear of the pastel rubbing off onto his litigious patrons.
The second collaboration was with his friend, Dan Wooster. Also a figurative painter, Dan encapsulates the sensuality of the human form. Kevin created a series of canvas constructions, but this time replacing the caanvas with wood to provide a firm surface on which to paint. Together Kevin and Dan created a series of still lifes and organic human forms, which drew from painting, but was set in a sculptural context.
Both Jerry and Dan are amazing painters, and would like to collaborate with them again in the future.
Then came a long period in the 1990s and 2000s in which Kevin focused his attention on graphic design and building a design firm, then an advertising agency with his business partner, Gregg Seaman.
I was tired of the art gallery scene and the politics involved in trying to gain recognition and acceptance. Aside from my artwork, I always loved graphics. It fulfilled a certain inner desire and came at a time when I needed some breathing room following my Environmental Painting and Canvas Construction series of work.
It was in July of 2006 when Kevin came across the fascinating quality of cell phone photography with the single image of the Disney Concert Hall. After shooting hundreds of photos of the hall, Kevin completed a series of twelve images he feels represent the true essence of this amazing structure.
Frank Gehry, in breaking out of the post and lintel architectural mindset, has created a body of work not only breathtaking but truly revolutionary.
Since then, Kevin has delved fully into this digital medium and now wants to offer these images in limited archival printing. These series are all signed and numbered to assure both quality and complete authenticity.
NEWS & EVENTS
Recent Gallery Exhibitions
Revive Gallery, July 2007
Los Angeles Center for Digital art, September 2007
Corporate aquisition and gallery inquiries welcome.
Check here regularly as I periodically add new images and create new series.