Kellyann Monaghan

Kellyann in her Greenpoint studio.

Kellyann in her Greenpoint studio.

Kellyann Monaghan is an artist based in Greenpoint, Brooklyn who received her BFA from Moore College of Art. She completed her MFA at Brooklyn College, CUNY in 2001, and has since been exhibited and recognized internationally. She is a painter and a printmaker who draws inspiration directly from the world around her, finding inspiration through the unpredictable and powerful environment. Her work is heavily physical with layers of paint built up to reveal candid representations of the awe-inspiring landscape.

Most recently, she has been exhibited in several virtual exhibitions during the global pandemic: specifically, with the Humans of the Earth (HOTE) Gallery in Los Angeles, CA and Starta Arta which is based in New York City. Previously, she has shown at Adelphi University Center Gallery and Performing Art’s Space, Jericho Public Library, and the Edward Hopper Art Center.

Can you tell us a bit about the process of making your work?

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My paintings are a cathartic release as an artist and personal visceral response to my fears in our current world. Earlier paintings originated during the process of being a direct observer of the landscape through "plein air" and on location. I have evolved from that tradition and into expressionistically depicting natural events on the landscape through purposely textured and fleshy paint strokes. My paintings describe and explore through the physicality of the paint: billowing, tumultuous clouds, a plane of land gashed apart by an earthquake, a frightening wave of water, the rapid deluge of floods, the rising ephemeral smoke from a fire. Many paintings are developed from edited, photoshopped video stills of dramatic weather events. In many instances, the paintings become improvised and unleashed visual performances based on these physical natural events.

I aim to maintain an element of spontaneity and directness in monoprint. A fluid and spontaneous quality in every mark is very important to me. I primarily work alla prima in the painterly print process of monotype. I edit, emphasize and exaggerate structural and organic forms while using this subtractive process. Monoprinting allows for idiosyncratic and unexpected painterly qualities to occur. The process is an unpredictable performance no matter how much I try to maintain control of the image creation because of the relationship of the plate to printing press and paper.

What are you working on at the moment?

I am continuing to work on paintings and prints based on stormy weather and dramatic events in the landscape. I am focused right now on finding the balance between the beauty in the landscape and its awe-inspiring power. I am interested in the moments of the landscape that anticipate a happening or something that has just occurred.


You’re primarily a painter, but also make prints. Can you talk about how your painting practice relates to the monoprints you make and how they might inform each other?

My monotypes are like drawings that I work through before I create a painting. Some images I visualize more clearly in the monotype process with the monochromatic color and the various textured effects. Often I make a monotype and will be completely satisfied with the process and resulting image. In other instances, I need to see what the painting process will be after the finished print. Occasionally, I create the painting first and the monotype happens after. It is exciting to see how both the monotypes and paintings change the resulting image.

What are some references you draw upon in your work? Are there any themes in particular that you like to focus on when creating?

Both radical weather events and beautifully dramatic landscapes are a constant instinctive stimulus for my tendencies as a physical painter, creating from both fear and awe of the natural world.

Art historically, I am influenced by Chinese and Japanese ink painting and printmaking. I admire their ability to depict nature in all forms and its power over humans. I am inspired by the early Hudson Valley painters as environmentalists depicted the industrial world's effects on the natural landscape. I also find great inspiration in the British Landscape painters Constable and Turner, as they struck a fascinating balance with both the sublime beauty and power of the landscape.

Kellyann Monaghan Exceedingly Close, 2020. 16 x 21 inches (40.64 x 53.34 centimeters). Monotype on paper. $1000

Kellyann Monaghan
Exceedingly Close, 2020.
16 x 21 inches (40.64 x 53.34 centimeters).
Monotype on paper.
$1000

Where are some of your favorite spaces that support contemporary art or design? Now that the art has an online presence has that changed?

I am inspired by being an artist in New York City and particularly in Greenpoint, Brooklyn. It is exciting to be constantly surrounded by other artists. I feel so fortunate to be in a city with so much art and so many new exhibitions. The MoMA is one of my favorite museums in NYC, particularly now after the expanded renovations and more inclusive exhibitions. I actually just visited the MOMA again for the first time since the pandemic. On this recent visit, I was able to discover new artists next to the classics in newly expanded exhibitions.


Do you have any shows coming up? Anything else you would like to share

This is my third opportunity for a virtual exhibition. I also showed with Hote Gallery in Los Angeles, where I had an in-person exhibition last year. Since the pandemic, I participated in two virtual exhibitions with Hote. I recently participated in my first in-person pop exhibition with Starta Arta in Manhattan. The virtual exhibitions and artist lectures have made art more accessible to more expanded audiences.

I am very grateful to Cara Lynch for curating this exhibition. I thank Project Gallery V for this wonderful virtual exhibition opportunity. What a fascinating and exciting group of artists!

Kellyann Monaghans work is included in our show “Eternal Flame,” Jan. 1st – Feb. 28th. Visit her website or Instagram (@kellyannmonaghanart) to see more of her work.

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