KAI LIN ART Talk @Ponce City Market // Jeremy Brown, Patrick Heagney, Greg Noblin, Jason Kofke, and Lela Brunet

In continuation of our holiday season partnership with Ponce City Market and the Atlanta Gallery Collective, Kai Lin Art is happy to announce a very special artist talk with Lela Brunet, Jason Kofke, Greg Noblin, Jeremy Brown and Patrick Heagney. The artists will be speaking about their work and practice at the Atlanta Gallery Collective inside Ponce City Market on December 21st from 6pm to 7pm. We are excited about all of the positive feedback we have received since the AGC exhibition has been open to the public and we are even more excited to be bringing some of our greatest artists from Kai Lin to PCM.

KAI LIN ARTist Talk @PCM
Thursday, Dec 21st, 2017
6 - 7 PM at Ponce City Market

Lela Brunet is an Atlanta based artist who works in a variety of mediums such as graphite, acrylic, marker, gold leaf and coffee. She often depicts the female figure with a nod to art history and contemporary themes.

Jason Kofke is a world traveled printmaker who calls Atlanta home. His work draws inspiration from historical documents and images to show technology and moments from the past as artifacts for the future.

Greg Noblin creates fantastic allegorical imagery that blends the distinction of painting and photography. Making use of photography and digital collage, the artist brings to life the audiences most imaginative inner spaces in to the real, tactile world.

Jeremy Brown creates art as a way of expressing himself and appreciating the world around us. Part of Brown’s aesthetic is derived from the complex, layered, out of the box nature found in street art and everyday life.

Patrick Heagney is an Atlanta-based professional photographer. His ongoing Chimera series manipulates light and time around the camera to produce gestural figurative renderings of natural human movements and relationships.

Ten of Atlanta's Contemporary Art Galleries have joined together to curate one beautiful space inside Ponce City Market's Boiler Room on the second floor above Williams Sonoma next to The Mercury. Our collaboration with Ponce City Market's Atlanta Gallery Collective which has been now extended through March 31st, 2018. 

Atlanta Gallery Collective @PCM
675 Ponce de Leon Ave., NE
Atlanta, GA 30308

 
KAI LIN ART is a contemporary art gallery cultivating creativity, connection, and conversation through art. Founded in 2008 by Yu-Kai Lin, our gallery is dedicated to promoting emerging and established artists in the Southeast and beyond. The gallery maintains an accelerated exhibition program with new exhibits every six to eight weeks.

Larry Jens Anderson // works on paper sale @kailinart

We are pleased to offer these 40 original works on paper by renown Atlanta-based artist Larry Jens Anderson in our Kai Lin Art Shop.

Larry’s first passion is drawing and he uses play and experimentation to express recognizable images and sometimes non-objective compositions. Larry brought from his studio a range of artworks, most of which have never exhibited. The works on paper below range from acrylic paintings to classical pencil drawings:

www.kailinart.com/shop

For over thirty years, Larry has been a professor of art in Atlanta and most recently at the Savannah College of Art and Design. Larry’s work has exhibited in over 11 countries, collected by many major corporate collections as well as The Museum of Modern Art, MOCA GA, The High Museum, the Mint Museum of Charlotte, and the Wichita Art Museum. Much of his work has dealt with gender, sexual identity, human rights, politics, religion, and mortality often referencing his family history. 

 
 

Todd Anderson's work collected by The MET (NYC) | featured guest @ Serenbe's Art over Dinner Dec 3rd, 2017

We’re excited to announce that the artist book, “The Last Glacier,” created by Todd Anderson, Bruce Crownover and Ian Van Coller is now on display at the Metropolitan Museum of Art in New York City.  The book was acquired by the Met in 2016, and is part of “Drawings and Prints: Selections from The Met collection,” in gallery 690.  The link and exhibition overview can be found below.  Of note is the last sentence of the overview that describes “The Last Glacier” and similar pieces, “…works by contemporary artists that deal with the environment, both natural and man-made, often in the face of rapidly shifting conditions.”

Todd will be joining Yu-Kai Lin for Serenbe's Art Over DInner series this coming Sunday, December 3rd, 2017 from 6:00 - 9:00pm. For tickets to the dinner please visit Serenbe's page here.

 
 

Of special significance for these three artists is the fact that the museum is extremely selective in acquiring art created by any artist, let alone living artists.  This includes “blue-chip” artists, non-academic artists, and even rarer, academic-based artists—those with a full-time college or university career.  Furthermore, art acquisitions must be able to operate in context and conversation with 10,000 years of global art making and multiple curators must agree on that purchase. “The Last Glacier” has been selected as worthy of inclusion in the global canon of creative works, serving as a national record that will help future generations understand who we are.

To create “The Last Glacier,” the three artists traveled to the Waterton-Glacier International Peace Park in Montana and Alberta, Canada to sketch, paint and photograph the park’s remaining twenty-five glaciers.  This fieldwork is the basis for the creation of 13 original reductive woodblock prints and 10 photographs bound in a 25” x 38” book, in an edition of 15.  The books have been sold out.  Please visit TheLastGlacier.com for more information about the artists and their projects. 

The three artists are currently creating another book, entitled “ROMO,” documenting the receding glaciers in Rocky Mountain National Park.  This and other work will be shown in Madison, Wis., at the James Watrous Gallery, a program of the Wisconsin Academy of Sciences, Arts, and Letters, at Overture Center for the Arts, November 2020 - January 2021

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Link to the Met show: https://www.metmuseum.org/exhibitions/listings/2017/drawings-and-prints-november-rotation

DRAWINGS AND PRINTS: SELECTIONS FROM THE MET COLLECTION

At the Met Fifth Avenue

November 21, 2017 – February 5, 2018

Exhibition Overview

The Department of Drawings and Prints boasts more than one million drawings, prints, and illustrated books made in Europe and the Americas from around 1400 to the present day. Because of their number and sensitivity to light, the works can only be exhibited for a limited period and are usually housed in on-site storage facilities. To highlight the vast range of works on paper, the department organizes four rotations a year in the Robert Wood Johnson, Jr. Gallery. Each installation is the product of a collaboration among curators and consists of up to 100 objects grouped by artist, technique, style, period, or subject.

This installation features a selection of prints illustrating the lavish festivities and ceremonies celebrated in Venice, a city that always been intimately tied to the sea; portraits of artists by Spaniards, including Francisco Goya (1746–1828) and Pablo Picasso (1881–1973), which reveal the great variety of ways these artists approached their sitters; a focused look at canceled printing plates; a group of poetic British landscape drawings and watercolors selected to elucidate a new acquisition, Sabrina, by Samuel Palmer (1805–1881); British and American watercolors and color woodcuts focused on dramatic skies by John Constable (1776–1837), David Cox (1783–1859), and Arthur Wesley Dow (1857–1922); drawings made by British artists who worked in India during the East India Company period (before 1874); and works by contemporary artists that deal with the environment, both natural and man-made, often in the face of rapidly shifting conditions.

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Thin Ice: Art professor saves National Park glaciers as woodcut prints, work acquired by national galleries

Clinton Colmenares 

The Last Glacier book

 

CLEMSON — With a heavy mug of coffee in one hand, Todd Anderson moves through his personal studio like a chef moving through a four-star kitchen: fluidly, efficiently, among the tools of his trade: neatly stacked cans of paint sorted by color, saws and drills tucked away without a hint of sawdust, brushes hanging neatly, chisels gleaming. Every label of every can and jar and bottle faces outward, lest confusion disrupt the rhythm of his work.

Anderson, an assistant professor of art at Clemson University, is a printmaker, skilled at transferring beauty and wonder from landscapes onto paper to share his experiences with the public.

When guests arrive at his studio, which used to be his garage, Anderson slips on a pair of shoes, turns off a stream of classical jazz and begins to tell a story about his latest project, which recently gained national attention.

“I think we all understand that the world is changing in sweeping and dramatic ways,” Anderson says, his voice quiet and earnest. “My belief is that those places need to be seen, they need to be experienced and they need to be creatively documented.” It’s a holy trinity that guides his work.

Since its founding 100 years ago, Glacier National Park has lost more than 80 percent of its glaciers. Over the past six years, Anderson says, he hiked more than 500 miles through that park for a project called “The Last Glacier.” He and two collaborators, painter Bruce Crownover and photographer Ian van Coller, recently finished the project, resulting in original artwork that includes 15 specially bound 25- by 38-inch books with Anderson’s original prints, Crownover’s paintings and van Coller’s photos.

“My intent as an artist is to share the beauty of a changing world,” Anderson says.

In demand

The Metropolitan Museum of Art in New York and the New York Public Library are sharing the work; they each bought a book on the spot. The Library of Congress bought another. Clemson’s Emery A. Gunnin Architecture Library, the University of Wisconsin-Madison, Yale, and several private collectors have also invested in the artistic, historical records.

“The Last Glacier” quickly garnered the kind of attention artists dream of. But Anderson couldn’t look lighter, more carefree. He says he spent a great deal of his life camping, hiking and climbing his way through the Rocky Mountains, sleeping with the stars overhead. It’s easy to picture him on a mountain in a three-day beard and a worn flannel shirt, accidentally hip.

On being outside, Anderson says, “If you’ve felt frost on a sleeping bag, or seen dew on cobwebs in the woods, you can understand the value of that experience.”

Rock climbing shaped his arms and hands; they’re strong, purposeful. His blue eyes sparkle with an infinite appreciation for wonder, reflecting a scientist’s curiosity and exacting patience. There are stories in those hands and eyes, and a quiet urgency to tell them.

In the late aughts, Anderson heard the Rockies’ glaciers were melting. “My first thought was, this is the environment that I love, these alpine environments, the beauty of these places. I felt sad, first and foremost. And then I thought, ‘Well, who is documenting these places?’”

When months of searching for someone recording the glacial recession turned up empty, Anderson decided to do it himself. “It was really out of a sense of responsibility,” he says.

The three collaborators are currently wrapping up a second project, documenting glaciers in Rocky Mountain National Park. Anderson is also waiting to hear about a grant from the National Science Foundation that would send him to Antarctica.

“The Last Glacier” is a compelling and invaluable work, said Gary Machlis, the University Professor of Environmental Sustainability and scientific adviser to the director of the National Park Service for eight years until early January 2017. “Climate change is the environmental challenge of our age, and responding to this challenge requires a constellation of voices — including those of artists like Todd.

“Art can be a portal for understanding in a visceral, emotional way what science attempts to demonstrate through theory, data and analysis,” Machlis said. “Todd’s work is powerful, and his collaborative team is unique and so committed to their task. Viewing the images in ‘The Last Glacier’ is a reminder of what is at risk and what might be lost if we do not act.”

In 1910, there were 150 glaciers within the new 1 million-acre Glacier National Park in Montana’s Rocky Mountains. When Anderson started his work, in 2010, all but 25 had melted.

Glaciers, the marvelous remnants of the last ice age, are made from the bottom up by layer upon layer of snow that melts into ice, the accumulating weight pressing the earth, picking up and setting down boulders as they slide incrementally. For the past 7,000 years, the glaciers in the park have stretched for miles, like giant beached whales caught between mountains and frozen by time.

Melting ice, rising seas

Lakes dot a valley in Glacier National Park that a glacier once filled. Photo courtesy of Todd Anderson.

When glaciers melt they don’t simply disappear, they become water. Increasingly, they’re adding to rising sea levels.

Melt from all the glaciers and ice sheets in the world are responsible for two-thirds of global sea level rise (the rest is attributed to warming seas), according to Andrew Fountain a glaciologist at Portland State University in Portland, Oregon, who agreed to write a scientific note about the next project by Anderson and his colleagues.

Twenty years ago, Fountain said, alpine glaciers, like the ones in Glacier National Park, were the first to melt. “Now Greenland is beginning to melt,” he said.

By 2040, with a 2-degree Celsius increase in global temperature, sea levels will rise significantly along 90 percent of the world’s coastlines, affecting hundreds of millions of people, according to a study in the Proceedings of the National Academy of Sciences.

Fountain has introduced many artists to the wilderness in Antarctica, where he conducts some of his research. When Anderson asked him, out of the blue, to contribute to an artistic project, Fountain considered it a way to tell more people about the melting glaciers.

“Getting this information out to people is super important,” said Fountain. “It’s a gateway to science. I might be attracted to the subject by graphs and plots, but others might be attracted by art.”

It’s a symbiotic relationship, Anderson said, as scientists wrap the art in a scientific context.

“Working with scientists is very critical to my projects. We’re trying to bridge gaps and we’re trying to connect with as many folks as we can,” Anderson said. “What the scientists provide is things that we can’t provide – analytical analysis and whole, unique perspectives of what’s going on with the landscape.”

There is also common ground among artists and scientists, and aficionados of each. Science, Fountain said, can be incredibly creative, like when it’s time to choose the right approach to finding a solution. And when looking at Anderson’s art, the glaciologist sees clues to the glacier’s life, such as whether it’s advancing or retreating.

Democratic medium

After graduating from the University of Wisconsin-Madison, Anderson found work at Tandem Press, an international printing house affiliated with UW’s School of Education. Tandem has a tradition of attracting famous artists to experiment and print in its studio. David Lynch, Chuck Close, Art Spiegelman and Judy Pfaff are among its alumni.

Essentially, Anderson worked with artists accustomed to producing singular pieces of art and helped them create prints that “would be totally and wholly unique, but you could make 20 or 30 of these things and more people could have it.”

Printmaking, he said, “is an inherently democratic medium, and for me that was really what grabbed me.” “The Last Glacier” project is similarly intended to be shared with the masses, Anderson said. “Our mission is to get the work into the public sphere,” he said.

And he wants future masses to experience the work, which makes acquisitions by the Met, the New York Public Library and the Library of Congress special.

“One of the things I want to do as an artist is to talk about the immediacy of things going on in the world. But art, as I understand it and the way I approach it, it’s a multigenerational conversation,” Anderson said.

In museums, “when we look at a painting from the 1800s it helps us understand what people’s values were, what people thought about,” he said.

“It’s just as important when future generations who go to museums and get to see this work. It’s not just saying, ‘Oh, there used to be a glacier here,’ but it’s also saying, ‘This is a little bit about us.’ In a very, very small way. Of what we valued as a society and what we thought about, the challenges we were trying to face and engage.”

Working with collaborators also amplifies the message and grows the audience. Anderson initially planned to work alone, but the glaciers were so vast and distant – 10 to 15 miles from an access road – that he enlisted Crownover and van Coller to help cover the territory.

The result, Anderson said, is “three very unique artistic visions of essentially the same thing. The hope is that by presenting the viewer with three different versions of three different artists, that folks might be able to latch on. If they don’t like my work, maybe they’ll really like Bruce’s. Or if they don’t like Bruce’s, maybe they’ll like Ian’s.”

Todd Anderson, assistant professor of art and printmaking at Clemson University, carves out a “stamp” to create a reductive woodcut print of a glacier for “The Last Glacier”. (Photo by Ken Scar)

Mirroring the glaciers

If you’ve stood on a glacier, or on a mountain two miles high, standing in front of Anderson’s finished prints will stir a familiar chill in the air, as if someone opened a window 10,000 feet up. The prints reveal scars from the violent upheaval, subduction and collision of the Earth’s crust. You’ll feel the cool blues of the ice, the ancient gray of the rock and yellow, purple, pink and blue of sunrises and sunsets seen through thin air.

Anderson spent weeks each summer working in situ, researching the glaciers – which ones to document, how to access them, seeing them at different times of day as the sun shifted shadows and revealed new details. He hiked, sketched and photographed, getting to know each one before it ceased to exist.

Back in his studio, where the prints come to life, a mixture of fluorescent bulbs balance the blues, reds and greens to shine as white as possible.

In the middle of the space sits a printing press, perched atop tiny feet, perfectly level. The press is new; at least it’s new to Anderson. It arrived recently by freight to his home in one of Clemson’s leafy neighborhoods. The press is his six-burner gas range, where the ingredients of his art – science, nature, light and the wonder of the Rocky Mountains — mingle and fuse.

Slowly, they develop as reductive woodcut prints in a process involving time, pressure and the deliberate carving of a landscape until nothing is left but a picture, a life cycle that mimics his subjects. Anderson chose to recreate the glaciers as woodcut prints because, he says, he wanted “an organic, visual language,” and woodcuts, by their nature, provide a “visual texture.”

Both glaciers and prints are constructed of layers, but  while glaciers are built from the bottom, prints begin at the top. They require the artist to complete the piece in his mind, then work backward.

Anderson transfers a sketch to a rectangular block of basswood, imported from Japan, then begins working in negative space – using fingers and hands that once routinely clung to rock to slowly, expertly, carve away wood, creating an image by removing what he doesn’t want in the print. The first layer he carves away, from the top of the block, will be the first image on the paper, the bottom layer of color.

“I might do that 10, 15 or 20 times. So I’ll have 15 or 20 sheets of paper that look the same,” he says. “Once I’m done doing that, I’ll take that same block of wood, clean it off, carve it out a little bit more, I’ll ink it up with a new color this time, then I’ll print it on top of what I printed before.”

He has to print light colors first, and he’s constantly calculating “the value of the color and the opacity of my ink, so that I can make a whole image look right. At least in my mind how it looks right.”

One layer, one carving, one color, one pressing at a time, all the while thinking backwards, or upside down, removing negative space from the top that becomes the bottom. Eventually, the full image appears. But, at a cost.

“By the time I get done making these artworks, the blocks themselves are really exhausted, and there’s no way of going back and remaking the artwork,” Anderson says. “The process is mirroring the fate of the glaciers themselves.”

Anderson said he doesn’t create “message” art. He’s not delivering a political statement. Not directly, anyway.

“There’s a complexity to these ideas” of art, experience, climate change, he said. “What I’m trying to present as an artist is visual complexity. But there’s moments where, when it works right, you can get lost in these things and you start seeing the cobwebs. You start seeing things. There’s an experience that art can give you, which is just wonder, and that’s what I’m trying to do.”

Anderson received funding from the South Carolina Arts Commission, the Sustainable Arts Foundation and the National Endowment for the Arts for this work.

For more information, and to see the work by Crownover and van Coller, go to TheLastGlacier.com.

REVERENCE | photo gallery

 
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Happy Thanksgiving!

We are so excited to share our Photo Gallery for our final exhibition of 2017: REVERENCE featuring all new artworks by Jeremy Brown, Wyatt Graff, Patrick Heagney, BLOCKHEAD, and Lee Arnett. 

We will re-open this week for Shop Small Saturday, November 25th from 12:00 - 5:00pm. Please contact the gallery if you have an interest in coming by to see the works or inquiries on the availability of art.

See you by the gallery this holiday season!

Gobble Gobble,
Yu-Kai LiN
KAI LIN ART // 404 408 4248 // info@kailinart.com

 
shopsmall.jpg
 

REVERENCE: Nov 17, 2017 - Jan 12, 2018

 
 

REVERENCE

November 17th, 2017 - January 12th, 2018
PRESS RELEASE

Opening Reception
Friday, November 17th, 2017
7:00 - 10:00 PM
free and open to the public // exhibit runs through January 12th, 2018

REVERENCE November 17th - January 12th |  Reverence is the 7th and final exhibition of Kai Lin Art’s programming for 2017 with an exciting group show of 5 artists working in diverse mediums and aesthetics. Reverence features the work of Jeremy Brown, Patrick Heagney, Wyatt Graff, Chris Skeene (AKA Blockhead) and Lee Arnett. Engaging with non-traditional uses of their mediums and materials, the artists bring together painting, photography, sculpture and collaboration celebrating the uniqueness and diversity in life. 

Jeremy Brown creates art as a way of expressing himself and appreciating the world around us. Part of Brown’s aesthetic is derived from the complex, layered, out of the box nature found in street art and everyday life. Reverence introduces signs of life and the outside world to the abstract and layered resin paintings he has come to be known for. Brown creates work as an act of meditation with a yearning to maintain love, passion, energy, and harmony. 

Moving to Atlanta from Alabama in 2010, Lee Arnett has freelanced as a graphic designer, started a clothing brand and completed several murals around town for restaurants, businesses and neighborhoods. Lee considers art ”without a doubt my truest passion in life.” His paintings combine canvas, cardboard, figurative and abstract. Arnett plays with the relationship between words and symbols in his paintings. Instilling a sense of self, he reminds the viewer that the human behavior relies on one’s emotion and relationship with others. 

Patrick Heagney is an Atlanta-based professional photographer. He received his BFA in Photography from The Savannah College of Art and Design. His work has been featured in numerous publications including Architectural Digest, Atlanta Magazine, Southern Accents, and Veranda. His ongoing Chimera series manipulates light and time around the camera to produce gestural figurative renderings of natural human movements and relationships. The movement conveys the choreography of the subject but also the viewer. Faces, arms or backdrops can sometimes be recognized in the images, as to hint at the process of creation. 

Wyatt Graff explores Modernism in a Post-Modern age. With an eye cast on the traditional concerns of both painting and sculpture, Graff creates object-based environments, influenced by Modernist principles. These principles brought forward in time, focus on the relationship between wall, paint, and support to create a Post-Modern fusion of sculpture and painting.  This merger activates materials and recognizes spatial relationships.  The end result is not painting or sculpture, but rather a new way of investigating both disciplines.

Chris Skeene, or Blockhead, uses his blockhead sculptures to bring variety to the repetition of a singular form. Often borrowing themes or influences from art history and pop culture the sculptures come in a variety of characters and icons. Skeene regularly collaborates with various  Atlanta artists as the form allows for infinite possibilities unveiled by the imagination of others. Reverence will feature original Blockheads and collaborations with Lela Brunet, Joe King, Donna Howell, Monica Alexander, Andrew Catanese, Lindsay Ryden, Hannah Pearman, Matt Field and AtlTvHead.

Artist Talk   Saturday   December 9 4:00 - 5:00 pm
Evening Hours   Thursday   December 14 6:00 - 8:00 pm
Volume V: Closing   Thursday   January 11 7:00 - 9:00 pm

KAI LIN ART is an award winning contemporary art gallery based in Atlanta’s booming West Midtown Arts District founded in 2008 by Yu-Kai Lin. The mission of the gallery is to cultivate creativity, connection, and conversation through art. Dedicated to promoting emerging and established artists in the Southeast and beyond, the gallery maintains an accelerated program with new exhibitions every six to eight weeks. Kai Lin Art is free and open to public Wednesday through Saturday and by appointment.

The Gallery Residences photo gallery // exhibiting through January 2018

We are pleased to announce our exhibition at The Gallery Residences in Buckhead Atlanta is now on view in the lobby now through January 2018.

The exhibition features Larry Jens Anderson, Todd Anderson, Blockhead, Jeremy Brown, Lela Brunet, Andrew Catanese, Dale Clifford, Wallace DuVall, Marv Graff, Lisa Hart, Lynx, Carey Morton, Greg Noblin, and Elliston Roshi.

The Gallery Residences Lobby
2795 Peachtree Rd NE, Atlanta, GA 30305 

For inquiries on availability or if you're interested in a private tour of the exhibition, please contact us at 404 408 4248 or info@kailinart.com

The Gallery Residences Lobby
2795 Peachtree Rd NE, Atlanta, GA 30305

 
 
 

For inquiries on availability or if you're interested in a private tour of the exhibition, please contact us at 404 408 4248 or info@kailinart.com

Atlanta Hawks commissions Larry Anderson for Owner's Club

We are so pleased and excited to share that our artist Larry Jens Anderson was selected this past summer as the first artist for placement within the Atlanta Hawk’s Owner’s Club by Amy Parry Projects, an Atlanta-based boutique art consulting firm in conjunction with the interior design firm Smith Hanes Studio.

This summer, the Atlanta Hawks began the process of a total interior transformation of their home within Philips Arena in the heart of downtown Atlanta. Larry's work was commissioned to fill a nearly 18 foot long niche within the Owner's Club, one of the VIP spaces which opened in October with the beginning of the 2017-2018 NBA Season. 

“Feathers have been a part of my imagery for many years. They take on different characteristics: angels which represent the escape from grief and a level of perfection that can also be wounded.” -Anderson

Recently Larry’s feathers have become separated from being a reference to another thing or idea to becoming the image itself. Using acrylic on layers of watercolor paper, the feathers take on an opaqueness and transparency. The physicality of paint used as a drawing material pushes these pieces into a three dimensionality creating surface texture and a beautiful ethereal quality.

The Owner's Club was designed by Smith Hanes Studio and features a handful of local artists. AP Projects consultants Amy Parry and Lisa Thrower have a long history of working with the established artists of Atlanta, and felt that Larry's inclusion, like other artists in the developing collection, aligns with the mission of the Hawks franchise to stay "True to Atlanta." As a professor, social activist and beloved arts community member, Larry is a true VIP in his own right. For the project, Larry created over 20 small paintings of hawk's feathers.

Thank you to Amy Parry, Lisa Thrower, Smith Hanes, and The Atlanta Hawks!

 

For inquiries on the availability of the feather pieces by Larry, please contact the gallery at 404 408 4248 or email info@kailinart.com

For more information about the Philips Arena Transformation, please visit:
www.amyparryprojects.com

 

 

Kai Lin Art announces our partnership with Ponce City Market

Ice cubes - Kevin Palme 

We are excited to announce that Kai Lin Art, along with nine other premier Atlanta galleries have been selected to exhibit at the Atlanta Art Collective at The Boiler Room of Ponce City Market! The exhibition will run through January 14, 2018 during PCM's regular hours. You can find the exhibit on the second floor of PCM in the Boiler Room, directly above Williams Sonoma next to Mercury restaurant.

The exhibit features artists Jeremy Brown, Kevin Palme, Blockhead, Tim Kent, Greg Noblin, Larry Anderson, Todd Anderson, Elliston Roshi, Jason Kofke, Andrew Catanese, Wen Lin, Inkyeong Baek, Erik Waterkotte, Anna Kenar, Patrick Heagney, Mandy Ferguson, Marv Graff, and Carey Morton.

 

Simple Kindness Inspires Unity - Jeremy Brown (2017)

 
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Now exhibiting Marv Graff + Collectors Night: Thursday, Oct 26, 6-8pm

Dear Collectors and Friends,

We are pleased to announce we are now exhibiting the Art of Marv Graff for our Flourish exhibition at the gallery, The Gallery Residences, and Ponce City Market!

Marv Graff's artwork expertly merges the fields of avant-garde fashion, textile design, sculpture, and historic preservation in order to reimagine the purpose and aesthetic of old-world objects into contemporary sculpture. Employing a variety of texture, embellishment, pattern, and decorative details, Graff fabricates what he calls "the second skin" of an object bringing new energy and interpretation to antiques with a particular nod to French antiquity.

We invite you to our COLLECTORS NIGHT this coming Thursday with extended hours:

FLOURISH: COLLECTORS NIGHT
Thursday, October 26th, 2017
6:00 - 8:00pm

Visit his page for more on The Art of Marv Graff; for inquiries into availability please contact the gallery at 404 408 4248 or info@kailinart.com.

Artfully,
KAI LIN ART and CO
404 408 4248 // info@kailinart.com

KAI LIN ART is please to announce our representation of Joe Camoosa

We are please to announce our gallery now represents artist Joe Camoosa.

Born in Asbury Park New Jersey, Camoosa received his MFA in painting and drawing from the University of Georgia and graduated from Florida State University with a degree in Mass Communication and Anthropology. Camoosa's works are explorations centered on the relationship between space, shape, pattern, scale, and repetition. Informed by cartography, music, architectural fragments, and aerial landscapes, Camoosa makes concise, bold, graphic works on paper, Mylar, or canvas that combine drawing, painting and collage.

For more on The Art of Joe, we invite you to visit his page here. For inquiries into availability, please contact the gallery at 404 408 4248 or info@kailinart.com.

We also invite you to join us for our Collectors Night with extended hours on Thursday, October 26th from 6:00 - 8:00pm.

KAI LIN ART in partnership with The Gallery Residences in Buckhead // group exhibition

Dear Friends + Collectors,

We are excited to share with you our partnership with The Gallery Residences on Peachtree Street for a group exhibition featuring a collective of KAI LIN ARTists!

The exhibition features Larry Jens Anderson, Todd Anderson, Blockhead, Jeremy Brown, Lela Brunet, Andrew Catanese, Dale Clifford, Wallace DuVall, Marv Graff, Lisa Hart, Lynx, Carey Morton, Greg Noblin, and Elliston Roshi.

Opening Wednesday, October 18th
6:30 - 8:30pm
The Gallery Lobby

2795 Peachtree Rd NE, Atlanta, GA 30305 

 
 
 

FLOURISH | photo gallery + artist talk October 14th

Dear Friends and Collectors, 

We would like to invite you to our ARTIST TALK this coming Saturday, October 14th from 5:30 - 6:30 PM. Join Lynx Nguyen, Lela Brunet, Joe Camoosa, Marv Graff and Greg Noblin and hear about their inspiration behind their latest body of work:

ARTIST TALK
Saturday, Oct 14
5:30 - 6:30 PM

Also, we’d like to share a recent studio conversation with our artist Lynx Nguyen from ArtsATL!

Check out the photo gallery below from the FLOURISH opening reception below!

Artfully,
The Crew @kailinart
KAI LIN ART // info@kailinart.com // 404 408 4248

A studio conversation with Lynx Nguyen - ArtsATL interview

Thanks to ArtsATL for featuring Lynx Nguyen! We are honored to be exhibitng Lynx's work as a part of our current exhibition Flourish
You can find ArtsATL online at their site ArtsATL.com

Below is the full Q and A with Lynx and a gallery of his works currently on view at Kai Lin Art

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A studio conversation with Lynx Nguyen
Anna Nelson-Daniel
 Sep 29, 2017
Photos and interview by Anna Nelson-Daniel.
Lynx Nguyen’s repetitious technique of mark-making visualizes the labor inherent in his artistic practice. The process involves filling the frame with layers of pen ink using an electric drill. Both method and material resonate with the everyday.
Nguyen earned his MFA from Savannah College of Art and Design and BFA from Georgia State University. We met in an exhibition space behind his residential studio to discuss his work in the upcoming exhibition Flourish with Kai Lin Art gallery.
ArtsATL: You often mention discipline as a key component of your methodology. Can you talk more about that?
Lynx Nguyen: Among very successful people there is always some sort of discipline. That discipline is already within us. It’s discipline that gets us out of bed and to work. It’s just a necessary thing to do. If you have that discipline there’s nothing you can’t do. Why is someone doing artwork? So that can be proved as a person.
So all of my work is this way to go within this discipline. There is just a need to dig that out. My work is to do that so that I’m able to control what I want to do with my discipline. Something you do daily as part of that process. Sometimes it’s so hard with the changes of daily life.
ArtsATL: At what point did you incorporate power tools into your creative process?
Nguyen: After my first year at SCAD, I started mark-making and was always looking for a more efficient way of making this faster. Also, during that time I was researching reincarnation and the cycle of life. So I was looking for that circle, something to create that cycle. The drill is perfect because it’s making a circle there. That represents our thoughts going through our minds daily. The work is an internal reflection. You don’t have time to sit there and pay attention to it.
The drill here is perfect for this concept. This process requires effort, discipline, physical work, sacrifice. That’s the part that people don’t understand about my work. It’s fast using the drill, but in less than five minutes your hand could be broken. There’s a way to hold and to distance your body to overcome the pain.
Using the drill is extremely difficult to do because there’s a lot of wear and tear. The tear shows a loss of focus. This is metal, and this drill is flying 4000 marks per minute. If you’re not focused, it can dig into the paper, chew it up, tear it up. So you have to have that mindset of walking on thin ice, just to hit the surface like this one at a time to layer.
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ArtsATL: So meaning accumulates in the effort put into creating the work itself. You choose the ballpoint pen for its’resonance with beauty in the ordinary or everyday. What do you intend for the viewer to take away from engaging with your drawings?
Nguyen: I want my work to bring this peace, this enlightenment, this awareness to other people. When viewers write with the pen [later on], they start to pay attention to it. To talk about this work, you have to know the nature of these things. This kind of work is ink. To get to the deeper color, it takes quite long. Some people associate my work with meditation. It could be like that.
ArtsATL: In an exhibition with Monmouth Museum in New Jersey, you exhibited the work Please touch. Since, you have exhibited the work Interaction art with MOCA GA. What has your experience been with the audience in these participatory pieces?
Nguyen: This art is not about seeing. A lot of people want to see what’s in there. They show me a lot of artists, and the composition is amazing. Some of the Korean artists who work with oil painting, it’s amazing what they’re displaying – everything is there. The power, the envy, everything is there. This work is about something more to connect to.
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ArtsATL: Are there particular artists that draw you to this minimalist aesthetic?
Nguyen: Abstract expressionism in New York — it’s so expressive! It’s amazing! Korean Minimalists — it’s amazing!
[I’m working with] a very special paper in Japan. It’s handmade and is so soft. The pulp of the layer of the paper is very furry like a furry. They make about seven sheets a day. It takes 47 buckets of pulp just to get this thick and large size. I’m all about searching for the best paper. I use different materials to try out with pen and ink.
Richard Serra did a series of drawing with oil stick on that paper. Right now I’m still experimenting in the gallery space to gauge people’s reaction. In a gallery, works are refined. On a large scale the impact is there. Sometimes I have to negotiate between a mix of paper and canvas. So it’s a process of reaction and learning. The simple answer is that the main focus is how to make the work less interesting as possible. The reason why people prefer this work, think it’s better, is that they see the texture, see the mark-making — they can see so many things.
Lynx Nguyen will share more on his work in an artist talk October 14, 5:30–6:30 p.m. at Kai Lin Art gallery. This event is part of the Flourish exhibition on view through November 10, 2017.

You can find the original article at artsatl.com/studio-conversation-lynx-nguyen/

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CREATIVE LOAFING votes KAI LIN ART: Critics Pick for Best Gallery

Dear Collectors, Patrons, and Friends,

We are so excited to announce Creative Loafing has voted Kai Lin Art as "Critics Pick for Best Gallery" in Atlanta 2017!!!

Thank you to all the wonderful people that have helped make the gallery possible. We are beyond grateful for your support and patronage over the last 9 years. 

Appreciatively,
Yu-Kai, Robie, Claire, and Alisa
KAI LIN ART // 404 408 4248
info@kailinart.com

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The Art of LYNX

Lynx Nguyen returns to Kai Lin Art with a collection of new large scale panels in his instantly recognizable tally-mark style. His drawings take the form of minimal meditations on repetitions, line, and discipline. Lynx’s work is process-oriented, requiring thousands of ball-point pens and hundreds of hours of mark-making. He elevates the simple act of tally-marking into new forms of consideration. Lynx has previously been a part of both Fresh and the New South at Kai Lin Art.

FLOURISH
exhibit runs through November 10th, 2017
DOWNLOAD PRESS RELEASE
Kai Lin Art opens FLOURISH, the sixth exhibition of 2017 and features the work of four Atlanta based artists exploring the concepts of patterns, repetition and psychology. Lela Brunet, Joe Camoosa, Marv Graff and Lynx Nguyen grace the gallery with their own individual series of works:

Artist Talk   Saturday October 14 5:30 - 6:30 pm
Collectors Night   Thursday October 26 6:00 - 8:00 pm
Volume IV: Closing   Thursday November 9 7:00 - 9:00 pm

FOR AVAILABILITY & INQUIRIES
404 408 4248 | INFO@KAILINART.COM

FOR AVAILABILITY & INQUIRIES
404 408 4248 | INFO@KAILINART.COM

The Art of Lela Brunet

Long time artist of the gallery Lela Brunet showcases a new group of her signature mixed media works blending detailed figures, colorful patterning, gradients with silver and gold leaf. Brunet’s work features representations of strong, deity inspired women under celestial backdrops while mixing influences from mythologies and fairy tales where the figure is placed in intriguing roles. She enjoys working primarily on paper with a mixture of mediums such as acrylic, ink, marker, coffee, graphite pencil, tissue paper bleed, and occasionally oil paint. 

FLOURISH
exhibit runs through November 10th, 2017
DOWNLOAD PRESS RELEASE
Kai Lin Art opens FLOURISH, the sixth exhibition of 2017 and features the work of four Atlanta based artists exploring the concepts of patterns, repetition and psychology. Lela Brunet, Joe Camoosa, Marv Graff and Lynx Nguyen grace the gallery with their own individual series of works:

Artist Talk   Saturday October 14 5:30 - 6:30 pm
Collectors Night   Thursday October 26 6:00 - 8:00 pm
Volume IV: Closing   Thursday November 9 7:00 - 9:00 pm

FOR AVAILABILITY & INQUIRIES
404 408 4248 | INFO@KAILINART.COM

FOR AVAILABILITY & INQUIRIES
404 408 4248 | INFO@KAILINART.COM

FLOURISH | September 15 - November 10, 2017

FLOURISH
September 15 - November 10, 2017
DOWNLOAD PRESS RELEASE

Opening Reception
Friday, September 15th, 2017
7:00 - 10:00 PM
free and open to the public
exhibit runs through November 10th, 2017

FLOURISH September 15th - November 10th, 2017 | Kai Lin Art opens FLOURISH this Friday, September 15th, from 7pm to 10pm. This is the sixth exhibition of 2017 for Kai Lin Art and features the work of four Atlanta based artists exploring the concepts of patterns, repetition and psychology. Lela Brunet, Joe Camoosa, Marv Graff and Lynx Nguyen grace the gallery with their own individual series of works.

Long time artist of the gallery Lela Brunet showcases a new group of her signature mixed media works blending detailed figures, colorful patterning, gradients with silver and gold leaf. Brunet’s work features representations of strong, deity inspired women under celestial backdrops while mixing influences from mythologies and fairy tales where the figure is placed in intriguing roles. She enjoys working primarily on paper with a mixture of mediums such as acrylic, ink, marker, coffee, graphite pencil, tissue paper bleed, and occasionally oil paint. 

Recent Walthall Fellow Joe Camoosa joins Kai Lin Art with a series of concise, bold, graphic works on paper, mylar and canvas that combine drawing with collage. Camoosa’s works are abstract and formal, influenced by shifts in perception - the momentary in-between space conjured by viewing what may appear to be an aerial landscape, map, or fragment of a building. In each piece is the alternation between recognition and abstraction – of being someplace and nowhere at the same time. 

Lynx Nguyen returns to Kai Lin Art with a collection of new large scale panels in his instantly recognizable tally-mark style. His drawings take the form of minimal meditations on repetitions, line, and discipline. Lynx’s work is process-oriented, requiring thousands of ball-point pens and hundreds of hours of mark-making. He elevates the simple act of tally-marking into new forms of consideration. Lynx has previously been a part of both Fresh and the New South at Kai Lin Art. 

Rounding out the artworks in Flourish, Marv Graff has brought several of his delicate and decorated sculptural assemblages. His works are naturalistic equine sculptures crafted out of luxurious and rare materials such as swarovski crystals, silver threads, elk antlers and rare woods. His detailed and meticulous process involves threading and weaving with the precious materials playing with the sense of inherent value and tangible effort. 

Long time artist of the gallery, Greg Noblin returns with a fresh series of his signature Panelist works. Noblin works to incorporate layers of meaning, symbolism and texture in his artworks through a multistep process of photo-collage and panel printing. The final works are a combination of surrealism, photography and landscape supported by organic and inorganic structures. Sometimes humorous or fantastic, these allegorical illustrations serve as a bridge between the childhood imagination and adult “reality”. 

Artist Talk   Saturday October 14 5:30 - 6:30 pm
Collectors Night   Thursday October 26 6:00 - 8:00 pm
Volume IV: Closing   Thursday November 9 7:00 - 9:00 pm

KAI LIN ART is a contemporary art gallery founded in 2008 by Yu-Kai Lin and based in Atlanta’s booming West Midtown Arts District. The mission of the gallery is to cultivate creativity, connection, and conversation through art. Dedicated to promoting emerging and established artists in the Southeast and beyond, the gallery maintains an accelerated program with new exhibitions every six to eight weeks. Kai Lin Art is free and open to public Wednesday through Saturday and by appointment. 

     

Emory interviews alum Yu-Kai Lin 01C of Kai Lin Art

CENTER FOR CREATIVITY AND ARTS

Alum Spotlight: Yu-Kai Lin 01C, Owner and Curator at KAI LIN ART

Yu-Kai Lin. Photo by Jo Arellanes

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I reach KAI LIN ART gallery and immediately notice the large, sunny mural facing the space — a first sign of good omen. As I enter, I stop to decipher the neon word contained in a minimalistic piece by the door, a mirrored “kindness.” I’m sold.

Robie DuChateau, the gallery’s director of events, waves warmly and moments later, Yu-Kai Lin offers me his large smile, shakes my hand and leads me into his office: a vibrant and eclectic mix of colors and shapes.

Founded in 2008 by Yu-Kai, KAI LIN ART is a contemporary art gallery that encourages creativity, connection, and conversation through art. Working with both emerging and established artists, Yu-Kai maintains an accelerated exhibition program with new exhibits every six to eight weeks — all while selecting only the best, most provocative art.

His office is indicative of his curating style. He points to one of the many pieces peppering the space, a detailed sketch of a rabbit painted on an enormous sheet of notebook paper.

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“This piece — this little rabbit — the artist, Larry Jens Anderson, is in his seventies and he started the Atlanta College of Art later becoming SCAD-Atlanta. He has Parkinson’s and he was unable to hold a paintbrush. He taught a class on unconventional painting — he painted this piece with a branch found in his backyard and taught his class to use anything but a paintbrush to paint with. This rabbit is done with a stick and it’s amazing how much detail, how much quality and character he can get from just a branch. He then underwent a procedure at Emory and this painting [points to “The Burden Collage,” graphite and ink on paper] was done after his operation, when he could hold a paintbrush again. Larry’s every single line has a story and a purpose and tells a rich tapestry of his own life experiences.”

I ask Yu-Kai about his own history.

His parents emigrated from Taiwan and Yu-Kai grew up in Georgia. He graduated from Emory in 2001 as a pre-med student with a degree in music — piano performance. A classically trained pianist, he teaches piano at his private studio near his home. 

“My youngest [student] is four, my oldest is 72. What I’ve learned through teaching is that where there’s a will there’s a way. We can all learn if we’re open to it.”

He describes himself as a day-dreamer. As a child, Yu-Kai spent his free time drawing and coloring, activities that garnered him awards. He began studying music in fourth grade — first violin, then piano and voice — and hasn’t stopped since. At Emory, he took art history classes combined with chemistry and biology for his pre-med requirements, all while continuing to sharpen his musical skills under the tutelage of Dr. William Ransom.

“Music and science go hand-in-hand, they really complement each other. The discipline it takes to read, learn, absorb music — it translates well to the discipline needed in sciences.”

Yu-Kai was part of the a-cappella group No Strings Attached and SPC (Student Programming Council) where he helped bring in entertainers like Jerry Springer, Goo Goo Dolls and Busta Rhymes. “That was so fun. It helped me because now I continually plan events for the gallery: artist talks, openings, closings.”

After various internships in medical centers in Atlanta, he realized that he didn’t want “to see sick people all the time and work from 7 to 7.” Post-graduation, he took his medical school exams and did well, but took a leap of faith to pursue the arts.

He worked at two galleries before opening KAI LIN ART. “I had mentors. It’s good to have mentors, to find people that you trust, that you like —or even people that you don’t like but trust—so that you can learn from their mistakes and figure out what you’d do differently.”

While he is constantly surrounded by beautiful art at work, his job is anything but simple and pretty.

“It’s difficult [to own and run a gallery] everyday. It’s a challenge to sustain, to grow and to keep it all up in the air. It’s beautiful from the outside — from the inside it takes a lot of work, a lot of conversations and connections, thought and action for art to happen. The funding and the nitty gritty of finances are so important. There are so many artists and only a few galleries and a handful of art collectors — we have to carry the weight of all that. It’s not an easy role.”

I ask him whether his musical training informs his current work.

“Art and music are integrally intertwined. A lot of artists create their art while listening to music — there are just different types of art and I think they can all be meditative. Music is audibly meditative; paintings and drawings are visually [meditative]. They are all sensorial. Music helps inform being an art gallerist in that it takes a lot of diligence, practice, patience, dedication and self-motivation. You need all these to make things happen.”

Our talk shifts to a discussion about individual and collective purpose.

“That’s why we are here, to connect and to relate, to learn from the experiences of others, and the visions and the histories that artists carry with them.”

Yu-Kai believes we connect with a piece of art or a piece of music on a non-communicative, emotional “soul-level.” He believes this visceral connection allows us to open ourselves up to learning about the creative process and about the artist’s motivation and vision. We can then understand a little bit more of ourselves through the lens of another.

“What you see can be interpreted in so many ways and that’s visible now, especially with politics. One person can hear the completely opposite of what the other person hears. But art is a great equalizer —once the work of art is finished, it’s meant for the masses to enjoy, appreciate, internalize and reflect upon.”

We then delve into a conversation about the way art negotiates time.

“We build buildings just to house art: museums just for our artifacts, for creativity. There are so many strides to place art in rooms and boxes and frames that are completely sealed. It’s pretty fascinating when you think about the life of art. It encapsulates a period of time, it encapsulates the creativity of its artist, and we want to carry it on so that generations from now people can still see it and appreciate the meaning of it from that time when the person lived.”

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Art combines past, present and future into one. Yu-Kai believes that we are all collages of our experiences, our pasts, our yearnings for the future, our parents’ histories and their joys, their turmoil and their cultures.

“I feel like every person is an artist, we are all here to create. We don’t know our time frame for that creation, but everybody is creating every single day. A doctor is creating to help the body and their art is knowing how to move their hands to know how to fix your lungs, a lawyer is in the art of crafting thought, of crafting words that have meaning and carry weight for justice. Everything that a human touches is art.”

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SPECTRUM, KAI LIN’s summer series, is the gallery’s fifth show for the year and features the works of five talented artists: Jeremy BrownBlockheadTim KentChris Hobé, and Kevin Palme. SPECTRUM emphasizes the various ways color and form can evoke meaning, memories, and ideas. These pieces play on gradients, abstraction and forms beyond the 2D picture plane. Visitors can enjoy the series through September 8.

Yu-Kai takes me to one of the gallery rooms displaying Kevin Palme’s dreamlike paintings.  They are all colorful, faded and beautiful, like soft memories. They take about two months to complete because of the layers of paint on them. “Palme mixes his paints, it’s chemistry really: he changes the consistency of the pigments to create this reflective quality, as if you’re looking through water.”

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We step back into the main room where Tim Kent’s work glows bold and courageous, a cheerful example of sculpture-meets-paint.

I ask him how he selects the art for his gallery. He tells me he’s a fan of color, like me.

“We choose artists who have a narrative in their work, whether it’s abstract art or representational art. At the end of the day, it has to be an artist I get along with, because we have to work together and it’s all based on trust and symbiosis. Together we can create the environment for art to happen and the conversations for art to thrive.”

I ask Yu-Kai what his personal artist statement is and he’s a bit taken aback and pauses —he’s more accustomed to being asked about the gallery’s purpose than about his own.

“For me it’s important to follow what I’m passionate about, to pursue what I’m inspired by—which is art and music. It’s important to find the people that can help us take it to the next level. We’re all here to help each other. We’re all on the same path and we have to work together to grow together. We have to work through differences and challenges to learn.”

Yu-Kai explains that his twenties and thirties have been crucial in teaching him that dire times are the best times for self-discovery.

“We adapt ourselves to continual change, to continual growth through that change. Unlike school —where we take a test, write a paper or a thesis, or give a presentation and then do all of it again, in a cycle —in life there’s no structure. That’s the wonderful and daunting thing. Some people thrive in structure, but in art, music, and in life, there isn’t a limit to what we can create beyond our own beliefs and stunted views of what it is we can or cannot do.”

He believes in “many and mini connections” [between people and events] that help us propagate and grow.

“There’s no limit to what we can attract to ourselves. The internal dialogue in the theater of our thoughts really determines how we interact with the world. Whether we trust people, or we don’t trust them. Whether we think we can or we can’t. When someone close the door, we learn to go through the window —it’s good to hit a wall, to run into people we don’t relate to or whose point of view we can’t understand because that experience helps us learn about ourselves and then we grow, shift beliefs, and envision new possibilities.”

Yu-Kai resembles people to flames that can be ignited:

“Some days you might not be ignited and then you need somebody to re-ignite you. We are sponges, we absorb the energy of others, not only their thoughts and knowledge. And then we impart our own energy and knowledge so that another’s life can be bettered by it. I want to influence and inspire and give, so that I can receive.”

Echoing the neon “kindness” sign by the entrance, his credo in life is “Be kind, be flexible, be humble.”

“We’re always in a state of becoming. It’s great to let go of everything that happened before and to let go of what we want everything to be. Nothing ever happens as planned, but we still plan. Then life throws things at us and we go not in the direction we wanted to go, but in the direction that is natural and organic based on what comes to us.”

He advises aspiring artists to start where they are, to start then and there, and to be open to adapting to the shifts and changes of the environment they put themselves in. “Start. Just start. There’s no time like now to start.”

Putting his own advice into practice, Yu-Kai isn’t resting on his laurels waiting for things to happen.

“I’m an instigator, a connector, I’m purposeful with my intention to create and help others create. I’m a steward of art.”

By Loli Lucaciu

The Art of Kevin Palme

 

Happy August!

We're excited to invite you to our Collectors Night this Thursday, August 24th with extended hours from 6:00 - 8:00pm: RSVP for the event!

We would also like the announce the launch of THE ART SHOP: an opportunity to find quality collectible original pieces of art for under $500. Shop online by visiting kailinart.com/shop

Kevin Palme paints abstracted fragments of memories and feelings with a reverence for impermanence and jewel-like hues. His paintings resemble a distant landscape, just out of focus and out of reach. The artworks take their titles from haiku poems and intended to read in a similar way, concise and fluid, open to each viewer's personal interpretation.

FOR MORE ARTWORK, VISIT THE ART OF
TIM KENT | JEREMY BROWN | BLOCKHEAD | CHRIS HOBE | KEVIN PALME

Collectors Night Thurs, August 24th, 6:00 - 8:00 pm
Volume III: Closing Wed, September 6th, 7:00 - 9:00 pm

For inquiries into availability on artwork, please contact 404 408 4248 or info@kailinart.com. We look forward to seeing you by the gallery!

ARTFULLY,
YU-KAI LIN
DIRECTOR, KAI LIN ART
404 408 4248 INFO@KAILINART.COM

We are surrounded by impermanence. Fleeting moments, shifting perspectives, and change all illuminate the fact that nothing in life is permanent. Daily and seasonal transitions, birth, growth and death all remind us of the inevitability of impermanence. Even the most seemingly eternal landscapes will eventually succumb to time. We are left with memories. Abstract and residual, our memories are a means by which we can honor the past and recall experiences, relationships and parts of our histories. 

This series of colorfield paintings is derived from haiku, dualities, ideas about memory, and my preference for jewel-like colors. Each is named with a single word borrowed from traditional Japanese haiku, implying potential meanings for each painting. The paintings, however, are not illustrations of the poems. Rather, the works are similar to their accompanying haiku, concise but fluid and subject to change based on the experiences of the viewers. 

Kevin Palme’s work contemplates the temporal nature of existence and the plastic and abstract qualities of memory. Borrowing techniques from diverse periods in art history, his work sometimes features elements of non-objective painting and minimalism as well as tight representation. He is currently working in two different modes of painting. One body of work consists of colorfield abstractions based on traditional Japanese Haiku, landscapes, and jewel-like colors. He is also developing a series of paintings of melting ice cubes focusing on the malleability of paint, impermanence, and the irony of making a still life of a fundamentally ephemeral object.

FOR AVAILABILITY & INQUIRIES

404 408 4248 | INFO@KAILINART.COM

SPECTRUM photos

Hello! We're excited to invite you to our Artist Talk featuring the artists of SPECTRUM! Join us for a casual conversation and an opportunity to meet the artists and learn about the inspiration behind their vibrant, colorful artworks!
 
ARTIST TALK
THURSDAY AUGUST 17TH, 2017
5:00 - 7:00pm
RSVP HERE FOR THE TALK!

FOR MORE ARTWORK, VISIT THE ART OF
TIM KENT | JEREMY BROWN | BLOCKHEAD | CHRIS HOBE | KEVIN PALME

Artist Talk Thurs, August 17th, 5:00 - 7:00 pm
Collectors Night Thurs, August 24th, 6:00 - 8:00 pm
Volume III: Closing Thurs, September 7th, 7:00 - 9:00 pm

For inquiries into availability on artwork, please contact 404 408 4248 or info@kailinart.com. Enjoy the photos below and we look forward to seeing you at the talk!

ARTFULLY,
YU-KAI LIN
DIRECTOR, KAI LIN ART
404 408 4248 INFO@KAILINART.COM