Ken Tate Artist Catalog

ANN CONNELLY FINE ART

introducing

Ken Tate

The Architect/Artist I see space, shape, structure, order as an architect would; but when I’m in the “making” process, I really do “become” an action painter and in the “doing”, I am neither artist nor architect but rather an energy force with no vocation.

Visual images that come forth in the “making” process, that I have never seen, but which speak clearly to me, are what drive me. I’m also drawn to the raw nature of paint and the way it looks and “feels” when it’s squeegeed, smeared, finger-painted, brushed, squirted, thrown, splashed, dripped, etc. Some of the impetus for the work comes from the writings of the beat poets and writers (Kerouac, Ginsberg, Ferlingetti), but I’ve also been influenced by the abstract expressionists, jazz musicians, the automatic writings of Masson and early Henry Miller (“Black Spring”), outsider artists, and current painters like Albert Oehlen, Christopher Wool, and Julien Schnabel. But, in the end, it’s just me trying to paint “some” truth that I’m unaware of.

Back To Black Nina

Back To Black Amy

Back To Blue Jeff

Back To Blue Nick

Back To Blue Brian

Blue Study

Blue Study 2

Vertical Blue

Square Blue

The Deconstructed Series

Paintings that I’ve previously done on Yupo paper (which is a kind-of Japanese Watercolor paper), are cut-up and rearranged – deconstructed and then reconstructed in a completely unrecognizable, yet mysterious, arrangement.

However, I’ve discovered, or perhaps I just instantly know, that the subconscious mind does see the order, or some order, in the new seemingly chaotic composition. When working on these pieces, there is a cutting and editing that goes on that I can only akin to film editing. The original paintings are done with a squeegee and they end up having a kind-of photographic appearance quite often, so that this technique, along with the cutting, editing and rearranging ends up having a cinematic effect, or at least a kind-of subconscious reference to film making.

I Get My Kicks On Route 66

Knock Hard, The World is Deaf

Serene Green

Anima

The Luminous Series The luminous paintings are an offshoot of earlier squeegee paintings. But, something different happened (happens) when the luminous paint is squeegeed across the canvas and especially when a color is squeegeed over and into another color. The color suddenly becomes all pervasive, and starts to reference the early Color Field Paintings by Frankenthaler, Paul Jenkins, Sam Gilliam, Morris Louis, Dzubas, etc. However, these paintings, due to the luminous paint and the squeegeed technique, do not resemble the earlier movement in which most of the paint was poured or brushed. These have a vibrancy, an energy that pushes the image out in front of the picture plane. I find that aspect to be exciting, interesting and surprisingly “New�!

Black Orange

Blue Green Red

Blue Orange Pink

Yellow Green Blue

Orange Blue Yellow

Green Pink Orange

Warhol’s Confusion

Warhol’s Muse

Sonic Boom

Sonic Joy

The Intervention Series Magazine covers, that I am particularly interested in because of the artists, musicians or celebrities that grace them, as well as their graphic compositions, seduce me, invite me to intervene on them……and in my case, this means painting on them. The painting adds another layer of “meaning” to the composition and, for me, also adds a certain excitement to the magazine cover. At this point I have the covers photographed and enlarged. The new scale and the photographic paper inspire me to go even further with the painting – a new intervention to my own intervention. The final painting/photograph says something even “more” about these celebrities and even perhaps about me!!!

Sam Smith, Rolling Stone

Patti Now, Uncut

Basquiat’s Hands, The New York Times

Malkovitch, Interview

Taraji P. Henson, W

Double Orson, W

Double Emma, Wall Street Journal

Double Paul, The Hollywood Reporter

Gerhard Richter, Sotheby’s at Aucton

Double Kate, The New York Times

Double Pharrell, W

Triple Clooney, W

Double Jake, W

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