Jay Kelly

A Way Of

2025

"I’m not going to talk about my work." A cloud of defiance as thick as the smoke of his cigar wafts over him as he dabbles solder onto a tiny metal sculpture. He never had respect for conventions, rules… not even time. Just like his obsessively labored sculptures Jay Kelly seems to move fluently through centuries. Not agreeing on the now. His pieces tell a story of yearning for a time that never existed. Like props or artifacts from a world just beyond reach - that seem all too familiar but, then again, elude understanding. This small-scale work ranges from burdened to playful. From imposing to delicate. Alone, they stand tall and proud at all but 6 inches. Together the pieces form a unity, a tiny city of sorts. Created on a small folding table in NYC, these pieces feel influenced by their surroundings. With hints of old Americana, city brutality, grace, elegance, cast away curb-side items, industrial landscapes, busted tires and washed up buoys. "I like to refine my shapes over the years. I feel like I’m getting closer to the purest forms and shapes that turn me on," Kelly absentmindedly says about his work. "They have to have a certain weight," he continues, now filing at tiny metal flanges. "See… I’m a tinkerer… that’s what I do". -Suzanne Levesque Jay Kelly was born in 1961 and received his B.A. from Syracuse University in 1983. Originally a photorealist painter, Kelly shifted his focus towards abstraction in the late 1990s. Moving away from his remarkably rendered realist paintings, Kelly’s practice evolved into a completely anti-representational body of work. Calling to mind the work of Martin Puryear, Paul Klee, Alexander Calder, and Tim Burton, the work’s clean lines and minimal aesthetic also allude to 20th century modernist architecture and furniture.