Ellsworth Kelly

Colors for Large Wall, Ellsworth Kelly, 1951

It is probably my bias towards these particular painters, but I continue to be surprised to the degree I find an affinity with their processes and artistic intentions, especially considering the gap in time and media.

Kelly shares with me an interest in an artistic practise that is “impersonal” with an emphasis on “anonymity” (ambiguity in my interpretation) and a rejection of “expression”. Kelly often finds formal inspiration in the world around him, that is then abstracted in his painting process. This seems quite interesting in the context of my machines using cameras to capture their environments in order to generate novel forms, images and structures that are not predictable nor perfect representations of the world. There is also the inquiry into objects, perception and the relation between form and ground that connect deeply with my works framed as “Subjective Machines”. Kelly and I also share and interesting emphasis on fragmentation, especially in the context of his early work with collage reconstruction and the use of chance operations. Kelly’s interest in autonomy where a work “adjusts itself” and his use of chance are highly relevant to the ZF. As is also his interest in anonymity and the impersonal.