Monday, August 26, 2013

piebald elephant head

The Trojan Box, Box 13 artists at The Art League...a review :)

...being egocentrical my excerpt is....

The third piece in the "freaky animal trilogy" is Kathy Kelley's i am drowning in the silent stillness of unwritten posts, which may remind you of a piebald elephant head. Or an alien space suit. It has a palpable presence that makes you think it is athing, not an abstract three-dimensional form. It uses her favorite material--reclaimed rubber from old innertubes--but adds what is to me a new element--the white top. It was made with plaster and polished with wax, giving it a bone or ivory-like quality. I won't say i am drowning in the silent stillness of unwritten posts is beautiful, but it is compelling. I have to look at it--it really dominates the room. (An amazing achievement considering that the room is full of very interesting artworks.) And at the risk of sounding like Charles Kinbote, the title of this piece describes something I personally experience on a regular basis. -- Robert Boyd

Saturday, August 24, 2013

chainsaw that!!! oops.

in a swaggering moment, as I document my you-rock-with-the-chainsaw-kathy for dropping that puppy exactly where foreordained by this she artist, dead centered between the pine posts, I suddenly note that slim shocking horizontal line stretched tight at the trees tip! omg. don't tell my dad that the trees path to the ground included a power line obstruction within inches!

did better on second try (tree)

Tuesday, August 13, 2013

Join me this fall for The Artist Way Creative Cluster

The Artist Way Creative Cluster

WHO     Kathy Kelley; adults all levels
WHEN   Thursdays, 6-9 pm
               Beginning Sept 12 (12 weeks)
COST     $345 plus book
WHERE Chapelwood UMC,
               11140 Greenbay, Houston, 77024
               Williams Building Rm 103
SIZE       Group size max 12
REG       via email [include name, contact info]
               Credit card payments made will send link when registered via email.
               Fifty dollars non-refundable.

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In this course, we will form a creative cluster in which to begin stepping past the internal and external habits that have kept our creative impulse on the back burner. Joining this cluster will be to fulfill a yearning to bring our creative impulse to the front burner. We will read and use techniques and exercises from Julia Cameron's book, The Artist Way, to excavate habits and thinking that may have kept us blocked and cultivate new ones that support our impulse to create, to express. We will move from thinking about our own creative impulse to begin acting upon it. You will be challenged to test run weekly methods from the text -- artist pages, an artist date, and other exercises. This course is based on the premise that each of us is creative by nature and that in a supportive community we can more easily begin moving from thinking about to actually doing. Whether your urge has been to write, paint, build, sculpt, cook, arrange, or plant, this group is for you and is genre independent.
QUESTIONS email me @

Kathryn Kelley 
Artist + Designer + Writer + Mentor
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Teaching Practice
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Teaching Philosophy
Mania of making, mania of the mind, that excessive compulsion to question, push, make, and create, is worth harvesting, expanding, directing and releasing. As artist educator within foundations, my role in this process is to cultivate a sensitivity to listening. I see this listening as rather all encompassing and enabling of an awareness of self, others, materialities, processes and practice, traditions, physical, social and historical contexts, passions, subject matter, methodologies, and so on. This kind of perceptiveness requires me to equip students with a capacity to dwell inside and alongside of things and thinking so that making becomes a reflection of their listening. Access to the rhythms that come from deep listening allows what might otherwise remain submerged and unseen to manifest in ways that become meaningful. I have taught in the sciences, faith and the arts—each a creative endeavor and fundamentally parallel in the need for this sensitivity to listening, connecting, and acting upon.

Deep listening, connecting and making actually requires a high degree of risk taking, openness to critical feedback and dialog, as well as, exposure to failure. This artistic risky behavior, openness, and exposure are cultivated through a series of communal and curricular factors.

Beginning in the very first studio, it is critical to build in forms of interaction that emotionally tether the students to one another and to their sense of belonging within the program. A resiliency that allows the studio experience of experimentation, tight timelines, heavy workloads and critical dialogue to be pushed further than when students’ function as isolated agents is foster by the development of strong studio peer attachments. Attachments are initially accelerated when classroom norms are disrupted through a series of non-graded tasks that bring the students into opinionated mini monologues about the arts, extremely close physical proximity via a small team task, team performance of task, and laughter, followed with a larger group critical dialogue exploring the discrepancies between team intent and viewer perception. These forms of connections, teams, tasks, and dialogues set the stage to implement an intense curriculum and work practice that peaks curiosity, promotes artistic risk taking, critical dialogue, and physical engagement.

Built into the scope and sequence of the curriculum are the practices of successful artistic deep listening, connecting and making—research, idea development, capacity to harvest from personal passions, critical reflection and discourse, collaborative unpacking of discrepancies between intent and outcome, deconstruction and adaption of working processes, work ethic, time management, opportunities for multiple iterations of a single concept or materiality, attention to craftsmanship, and professional presentation of work. Traditional attention to design elements and principles and craft are attended to but in ways that supports and emphasizes the habits of perceptiveness and process.

These deep listening, connecting, and making habits are not only the key to successful art careers but they are highly portable and will transfer to other potential job/life activities that the artist may embrace to support their artistic practice. 

  1. Teaching Curriculum [project sheets, crit guides, etc] Portfolio
  2. Teaching Student [eye candy] Portfolio
  3. Current Courses [blog]
[just to clarify when I speak of mania in no way am I referring to what the DSM would refer to as a personalitiy disorder, such as bipolar type two, OCD, etc. I use it in lay terms and as Webster defines it that excessive compulsion to ...]

Tuesday, August 06, 2013

pretty sure I am midwife equivalent to an elephant

as I attempt to turn combine tractor tubes inside out. 

and then there was the unexpected yucky slobber reward. 

omg. yucky!

an egg is not an egg

one made cake like, the other from a large block. one sits upon a shelf, the other is one with the shelf. 

one revealed what doesn't need shaped, the other, portions remain unshaped as unnecessary. 

so different. one doesn't merge with the wall, one will. one looks like an alien cone head, the other ad yet unknown. both will be draped with the same tubes. yet an egg is not an egg and this one will be different. 

Saturday, August 03, 2013

am wishing for snow; just for a few moments. i would certainly be grateful.

making a new egg, since this one was tossed. well at least heave-hoed grunted into a vermont dumpster. kind of wish i'd found room for it and brought it home and polished it up. instead i am making a new egg. it will be different. i couldn't make the same thing twice if i wanted to...just can't.

it is pretty dang messy. i've spend more time cleaning than carving. it is what it is.

the goal is to get something like below but slicker, more refined. this image represents more a preliminary sketch. i've used a totally different method and it is much messier than the blue insulation foam i picked up in vermont. admittedly this was free. i've as yet to decide what the work means; perhaps i just don't want to know -- as it has been wowingly referred to umm its elephant like femininity. perhaps i could make up something profound, deep or meaningful. then again, it might be better just to come up with something really dumb. smart tends to smell fishy of trying to hard to be smart. kind of like how the harder one tries to be cool, the less cool they are... perhaps i ramble as a consequence of this heat; would me nice to get a light snow for a moment, this moment, here in houston.