Pete Kelly

Great Dane Silhouette, Cheshire, England, 2015

2015

CURRENT EXHIBITION - runs through June 25th, 2017. Any framed photographs purchased during the show will be available then. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current exhibition of the photograph. The Robin Rice Gallery announces a solo photography exhibition by Pete Kelly. The opening reception will be held May 3, 2017 with the show running through June 25, 2017. Pete Kelly’s latest show admirably showcases the lush greenness, diverse landscape, and ever-fleeting light of the British terrain. We are invited to join his excursions throughout the country as he brings light to the captivating, idiosyncratic characteristics of the land. He captures the oddities of the landscape; solitary figures bathing in sunlight, silhouette of a frolicking Great Dane in the mist, and subtle remnants of a bygone era. Kelly’s incredibly unique, picturesque editing style further mythologizes his subjects, he meddles with an air of mystery that defines the viewers experience. Kelly employs a mixture of a single image with layers of photographs of textures. The feel and look of the end result pay homage to English romanticist landscape painters such as J.M.W Turner and Constable. Kelly applies varnish and then uses Photographic Encaustic wax over the print. He encases the archival pigment print in beeswax and damar resin; tree sap in its purest form. These organic components have been found to have preserving qualities by ancient Egyptians, which replace the need for glass over the photograph. The impersonality of a raw digital file is alleviated through this process and makes the image a ‘one off. Combining modern photographic and printing technology with ancient crafting techniques, Kelly 
is the originator of art that is tactile, archival and organic. In one image entitled ‘Brabyns Autumn” examines man’s contemporaneously interruptive and complimentary relationship with the surrounding land, and zeros in on a serenity only manifested when man and nature successfully coexist. Small figures, animals, and dwellings found in the landscape are essential points of interest for Kelly. Using nature as a tool for fortifying scale and perspective, Kelly magnificently reinforces the grandiose essence of nature as opposed to the insignificant disposition of man. Kelly’s tiny...

Listing is for UNFRAMED print. Inquire within for framing. Edition 1 of 25. If the exhibition piece is sold or the customer orders a different print size, the photograph is p...

Sepia-toned gelatin silver print Signed and numbered, verso 24 x 20 inches, sheet (Edition of 35) 39 x 26 inches, sheet (Edition of 15) This photograph is offered by ClampArt, located in New York City. “Horenstein’s creatures are decontextualized. They appear without the backdrop of the natural landscape, outside even the artificial world of the zoo or aquarium, and devoid of their true color. As a consequence, the images are truly arresting; and in both a literal and a metaphorical sense, we see these animals as we have never seen them before. We notice details, and Horenstein focuses our vision on the unexpected: the foot of an elephant, the eye of an octopus, the hair on the back of a gibbon’s head, the pattern of feathers on a bird’s neck. He plays with scale: the rear end and tail of a rhinoceros occupy the entire picture frame. We see these as if through a magnifying glass. His pictures challenge us to look more closely, to ask questions and make connections. We think about form and function: the relationship between an elephant’s foot, a horse’s hoof, and our own toes. We ponder modes of sensing and communication: the signals that hold together a school of fish. Examining these photographs, we become scientists and discoverers. “In some respects, Horenstein’s work continues a centuries-old tradition of natural history illustration in the realm of photography. In natural history illustration, animals are often presented in shallow space with limited landscape, sometimes even against a blank page, in order to promote close examination and study of detail. But as much as these photographs promote scientific inquiry, they are more than scientific illustration. Animals were the subjects of our first art and our first metaphors; and freed from the constraints of space and time, many of Horenstein’s creatures remind us of the lost magical connection between the ‘animal world’ and our own. They are unsettling and they mesmerize. They transcend and transgress familiar boundaries between subject and object. Who is observing whom? The Komodo dragon looks at us with piercing eyes. We’re transfixed by the gaze of the harbor...

The Dark Hedges, 2015 Archival pigment print Edition of 35 "The grey wet Northern Ireland weather has deeply touched my soul . . ." Professional Be...