pk-arten

Welcome to keyseronlineART. Meet an outstanding artist from Cambridge, Massachusetts (USA). Born in the 1950s, Phils Kelsey is painting out of a dream – a spot catches him, they both fall in love and melt into a masterpiece of colour. See for yourself and enjoy the beautiful art world of Phil Kelsey.

Phil Kelsey

Below Mount Misery (2006),

Oil on Canvas, 10,5 x 13,5 inches

Best Parking

Lot on the Cape (2006),

Oil on Canvas, 18 x 26 inches

Clay Cliffs (2006),

Oil on Canvas, 16 x 24 inches

Highland Light (2006),

Oil on Canvas, 18 x 26 inches

Stone Wall (2006),

Oil on Paper, 14 x 11 inches

Upstate Lace (2006),

Oil on Canvas, 18 x 34 inches

Paris Rooftops (2004),

Oil on Canvas, 32 x 50 inches

East Cambridge Garage (2002), Oil on Canvas,

dimensions on demand

The Criss Cross (2002),

Oil on Canvas, 22 x 40 inches

Around the

Penniman House (2002),

Oil on Canvas, 22 x 40 inches

Clay Cliffs (1999), Oil on Canvas, dimensions on demand

Great Dune (1999),

Oil on Canvas,

dimensions on demand

From Ballston Beach (1998),

Oil on Canvas,

dimensions on demand

Sue’s Garden (1998), Oil, dimensions on demand

Dancing Pines (1998), Oil, dimensions on demand

Pines from the Rock (1998), Oil, dimensions on demand

Clay Baths (1996), Oil, dimensions on demand

From Ball Hill (1996), Oil,

38 x 48 inches

Eye of the Unnameable (1994), Oil, 36 x 48 inches

End of Rico (1993), Oil,

23 x 48 inches

Muck Walk (1993), Oil,

23 x 48 inches

MIT Light Show (1986), Oil on Canvas, 36 x 60 inches

Spiritually Exhausted (1986), Oil on Canvas, 44 x 30 inches

Untitled (2006),

Ink on Paper, 18 x 24 inches

Untitled (2006),

Ink on Paper, 18 x 24 inches

Untitled (2006),

Ink on Paper, 18 x 24 inches

Untitled (2006),

Ink on Paper, 18 x 24 inches

Untitled (2006),

Ink on Paper, 18 x 24 inches

Untitled (2006),

Ink on Paper, 18 x 24 inches

Standing Nude I (2005),

Ink on Paper, 24 x 18 inches

Reclining Nude I (2005),

Ink on Paper, 18 x 24 inches

Seated Nude I (2005),

Ink on Paper, 24 x 18 inches

Reclining Nude II (2005),

Ink on Paper, 18 x 24 inches

Standing Nude II (2005),

Ink on Paper, 24 x 18 inches

Standing Nude III (2004),

Ink on Paper, 24 x 18 inches

Bending Nude I (2003),

Ink on Paper, 24 x 18 inches

Bending Nude II (2005),

Ink on Paper, 24 x 18 inches

Bending Nude III (2005),

Ink on Paper, 24 x 18 inches

Standing Nude IV (2005),

Ink on Paper, 24 x 18 inches

Standing Nude V (2005),

Ink on Paper, 24 x 18 inches

Seated Nude II (2005),

Ink on Paper, 24 x 18 inches

Seated Nude III (2005),

Ink on Paper, 24 x 18 inches

Ariel Bending (2005),

Charcoal on Paper,

24 x 18 inches

Ariel Sitting (2005),

Charcoal on Paper,

24 x 18 inches

Seated Nude IV (2004),

Ink on Paper, 24 x 18 inches

Standing Nude VI (2005),

Ink on Paper, 24 x 18 inches

Seated Nude V (2005),

Ink on Paper, 24 x 18 inches

Standing Nude VII (2005),

Ink on Paper, 24 x 18 inches

Standing Nude VIII (2005),

Ink on Paper, 24 x 18 inches

Reclining Nude (2004),

Ink on Paper, 24 x 18 inches

Standing Nude I (2004),

Ink on Paper, 24 x 18 inches

Standing Nude III (2003),

Ink on Paper, 24 x 18 inches

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Artist’s Statement

The goal of my work, particularly when I’m making a landscape, is to capture in paint the memory of the scene that I have in my mind’s eye. When I find a motif, or rather when a motif finds me, I make a number of sketches on the spot. The objective is to record a full and accurate rendition of what I see. Sometimes I also take photographs. Then I take all this information back to the studio where I make a composite. The final step is to eliminate the superfluous and reduce the picture down to its essential form and color.

When I get a picture to my liking, it develops a stylized look and a luminosity that evokes a dream-like state. I feel that dream and memory overlap each other; therefore, a dream-like rendering of a place is the best way I’ve found to represent my memory of it. Memory or the mind’s eye image is a more accurate recording of reality than say a camera shot at a particular moment in time, because it includes multiple moments in time, plus it elicits the psychological mood that a particular environment inspired in the first place.

For further information, press, booking and exhibition in Europe please contact Kevin Keyser at: pk-art@keyseronline.de

Philip M. Kelsey, Jr.
82 Berkshire Street, Apt. 2
Cambridge, Massachusetts 02141
(617) 661-8814 (studio)
(617) 669-2697 (mobile)