Todd Kelly

My Own Personal Rebus

January 31 – March 9, 2013

Untitled Abstract Painting 24, 2012

Oil on canvas

24” x 18”

Untitled Abstract Painting 23, 2012

Oil on canvas

24” x 18”

After Van Aelst 2, 2012

Oil on canvas

24” x 18”

Untitled Abstract Painting 16, 2012

Oil, spray paint on canvas

24” x 18”

Grid Painting 2, 2012

Oil on canvas

24” x 18”

Lemon Peel 2, 2012

Oil on canvas

24” x 18”

Melon 1, 2012

Oil on canvas

24” x 18”

Grid Painting 1, 2012

Oil on canvas

24” x 18”

Untitled Abstract Painting 6, 2012

Oil on canvas

24” x 18”

After Van Aelst 1, 2012

Oil on canvas

24” x 18”

Untitled Abstract Painting 17, 2012

Oil, spray paint on canvas

24” x 18”

Lemon Peel 1, 2012

Oil on canvas

24” x 18”

Untitled Abstract Painting 12, 2012

Spray paint, acrylic gel on canvas

24” x 18”

Melon, 2012

Oil on canvas

24” x 18”

Untitled Abstract Painting 18, 2012

Spray paint, collage on canvas

24” x 18”

TK01, 2012
Spray paint on canvas
24" x 18"

Untitled Abstract Painting 3, 2012

Oil, spray paint, house paint on canvas

24” x 18”

Melon 2, 2012

Oil on canvas

24” x 18”

Press Release

Asya Geisberg Gallery is pleased to present “My Own Personal Rebus”, an exhibition of paintings by Todd Kelly. Kelly seduces the viewer with a smorgasbord of mark-making: evenly dotted lines, messy splotches, layers of stripes and plaids, spray-painted folds, knifed scrapes, and watery swathes of thin paint. Kelly plays the role of the postmodern puppeteer, interested in the audience’s role in untangling and creating the meaning of a work. His combination of techniques and varieties of abstraction posits an intriguing mystery. Why are such heterogeneous works in one room, made by one artist? What should be the “reading” of the room – left to right, diagonally through the room, one or two at a time, or a simultaneous aggregate? Does one work complete the next? Does each distinctive type of painting flow into or fight against its opponent?

Kelly deploys wry strategies of abstraction, extrapolates from a still life, or earnestly copies an old master. He allows the paintings to occur in the studio according to whim and maintains an open and fluid unraveling of conscious choice. The tension of creation, of meaning delivered by its maker versus meaning conjured and rearranged by its viewer, is the crux of Kelly’s concerns. The result is an essentially post-structuralist approach to constructing meaning, wherein the viewer’s journey has power over the creator’s intent.

As the artist explains, “‘My Own Personal Rebus’ is a puzzle. There is no definitive solution to this puzzle. My randomly created pieces sit next to each other, grow familiar and become inexplicably linked. It is a mind game; I want to find a connection, I want there to be magic, I want it so desperately and then it begins to actually happen. I am forced to question whether I am chancing upon a great new truth or forcing it into being.”