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Steven KinderWOP 2-16
$5,000
£3,839.78
€4,400.35
CA$7,038.77
A$7,884.97
CHF 4,108.79
MX$96,180.39
NOK 52,213.29
SEK 49,233.41
DKK 32,842.98
About the Item
Represented by George Billis Gallery, NYC & LA --Steven Kinder talks a lot about energy, form and movement and getting at the essence of something. Getting to the middle of it. He wants his work to call out in some way. He is inspired by the ethereal color of Rothko, the angst embedded in the figures and flat space of Francis Bacon, Geometric abstraction and tidal pools. He has been exploring life through art for over four decades and has worked in all mediums since his studies at Cooper Union in the 1970’s. He works in both Williamsburg and Watermill in New York.
- Creator:Steven Kinder (1960, American)
- Dimensions:Height: 30 in (76.2 cm)Width: 44 in (111.76 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Fairfield, CT
- Reference Number:1stDibs: LU18321797253
Steven Kinder
Steven Kinder is a painter who uses geometric abstraction to convey energy, form and movement. Through colors and shapes, he creates tension and elicits an emotional response from his viewers. He has made drawings, paintings and large-scale work for over 40 years expressing these ideas.
Born in Queens, New York, Kinder studied at the Cooper Union in the 1970s. Early in his career, Kinder used flat house paint on raw, unprimed canvas. Unsatisfied, he added warm water, trying to achieve a transparent quality, before discovering raw pigment and linen. Translucent and vivid, the mix of materials allowed Kinder to develop his signature look, giving his geometric shapes new meaning and depth.
He developed a style that involves angular shapes in unison with emotive colors, similar to those used by American abstract painter Mark Rothko. His work also echoes the sorrowful sentiments conveyed by British painter Francis Bacon, a source of inspiration. Kinder’s communication solely through color choice and abstract forms, meanwhile, is an approach akin to that of Russian painter Wassily Kandinsky.
Kinder has several distinctive painting practices, including placing blue painter’s tape around the perimeter of a work to help confine his art to a designated space. The textural difference adds a physical barrier that also catches the end of brush strokes, extending the piece softly over its border.
When translating drawings into monumental projects like murals, he uses the drawing as a reference rather than projecting it or using graphs to scale it. By working free-hand on these large projects, Kinder can adapt his art to a space and play with translucency and color.
Today, he is based in both Brooklyn and Watermill, New York. He is represented by the George Billis Gallery.
On 1stDibs, find a collection of Steven Kinder’s paintings and mixed media pieces.
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By Steven Kinder
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Represented by George Billis Gallery, NYC & LA -- Steven Kinder talks a lot about energy, form and movement and getting at the essence of something. Getting to the middle of it. ...
Category
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Materials
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By Steven Kinder
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Category
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By Steven Kinder
Located in Fairfield, CT
Represented by George Billis Gallery, NYC & LA -- Steven Kinder talks a lot about energy, form and movement and getting at the essence of something. Getting to the middle of it. ...
Category
21st Century and Contemporary Abstract Abstract Paintings
Materials
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GBG 1003-17
By Steven Kinder
Located in Fairfield, CT
Steven Kinder (b. 1956, Queens, NY) was trained at Cooper Union and has been making drawings, paintings, and large-scale installation for over 40 years. His recent work advances his interest in various forms of dynamic tension and movement found in nature, specifically tidal bores, surges or whirlpools.
In his new work, the artist further explores tension and balance between the intuitive, gestural mark and the intellectual organization of form. His 9 inch square drawing series, a format he has been using for years, have now become templates for his paintings. In the drawings Kinder works out how form and color can come together and break apart while maintaining a compositional integrity inside a small space. His habit of placing ¾ inch blue painter’s tape around the edges of his designated area to serve as a border has now become part of the picture plane. The tape’s slightly elevated hard edge creates a physical barrier for the paint but adds a beautiful collage dimension as well. Its rough textured surface catches and slows the end of the brush stroke, softening the color and extending its energy over the intended border. Like a tidal pool at the base of a waterfall, the tape is both an extension of the thing, and a separate thing itself.
When Kinder translates the small drawings onto larger canvas, there is a palpable and necessary shift of pressure, color intensity and rhythm. He does not project the drawing on the canvas, nor does he use graphs. Instead he simply places it next to the canvas and refers to the drawing as an architectural blue print...
Category
21st Century and Contemporary Abstract Abstract Paintings
Materials
Canvas, Mixed Media
GBG 1014-17
By Steven Kinder
Located in Fairfield, CT
Steven Kinder (b. 1956, Queens, NY) was trained at Cooper Union and has been making drawings, paintings, and large-scale installation for over 40 years. His recent work advances his interest in various forms of dynamic tension and movement found in nature, specifically tidal bores, surges or whirlpools.
In his new work, the artist further explores tension and balance between the intuitive, gestural mark and the intellectual organization of form. His 9 inch square drawing series, a format he has been using for years, have now become templates for his paintings. In the drawings Kinder works out how form and color can come together and break apart while maintaining a compositional integrity inside a small space. His habit of placing ¾ inch blue painter’s tape around the edges of his designated area to serve as a border has now become part of the picture plane. The tape’s slightly elevated hard edge creates a physical barrier for the paint but adds a beautiful collage dimension as well. Its rough textured surface catches and slows the end of the brush stroke, softening the color and extending its energy over the intended border. Like a tidal pool at the base of a waterfall, the tape is both an extension of the thing, and a separate thing itself.
When Kinder translates the small drawings onto larger canvas, there is a palpable and necessary shift of pressure, color intensity and rhythm. He does not project the drawing on the canvas, nor does he use graphs. Instead he simply places it next to the canvas and refers to the drawing as an architectural blue print...
Category
21st Century and Contemporary Abstract Abstract Paintings
Materials
Canvas, Mixed Media
GBG 1012-17
By Steven Kinder
Located in Fairfield, CT
Steven Kinder (b. 1956, Queens, NY) was trained at Cooper Union and has been making drawings, paintings, and large-scale installation for over 40 years. His recent work advances his interest in various forms of dynamic tension and movement found in nature, specifically tidal bores, surges or whirlpools.
In his new work, the artist further explores tension and balance between the intuitive, gestural mark and the intellectual organization of form. His 9 inch square drawing series, a format he has been using for years, have now become templates for his paintings. In the drawings Kinder works out how form and color can come together and break apart while maintaining a compositional integrity inside a small space. His habit of placing ¾ inch blue painter’s tape around the edges of his designated area to serve as a border has now become part of the picture plane. The tape’s slightly elevated hard edge creates a physical barrier for the paint but adds a beautiful collage dimension as well. Its rough textured surface catches and slows the end of the brush stroke, softening the color and extending its energy over the intended border. Like a tidal pool at the base of a waterfall, the tape is both an extension of the thing, and a separate thing itself.
When Kinder translates the small drawings onto larger canvas, there is a palpable and necessary shift of pressure, color intensity and rhythm. He does not project the drawing on the canvas, nor does he use graphs. Instead he simply places it next to the canvas and refers to the drawing as an architectural blue print...
Category
21st Century and Contemporary Abstract Abstract Paintings
Materials
Canvas, Mixed Media
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