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Kenneth Millington
updated: 03/11/2012
website: www.kenmillington.com/
 
   
 
 
     
 
Artwork Title
art-medium
art-year
dimensions
Click thumbnails for full view:
 
Gravity's Siren
Seneca 634
Day After Tree
Spanish Steel
Low Tide- Nova Scotia
Gamma Afternoon
Wreckage
Tunguska Event
Mound no. 5
Mound no. 3
Doom Bloom
Binary Dinosaur
Beacons
Landscape 1 (Ammonia Cliffs)
Landscape 2 (Remote Shore)
 
Portfolio Keywords:  psychological, science, surreal, landscape, historical, nature, process, memory
 
 
Gravity's Siren by Kenneth Millington
Gravity's Siren
Watercolor on paper
2009
80" x  60" 
Seneca 634 by Kenneth Millington
Seneca 634
Exterior Acrylic Mural
2010
480" x  960" 
Day After Tree by Kenneth Millington
Day After Tree
Watercolor
2008
80" x  60" 
Spanish Steel by Kenneth Millington
Spanish Steel
Watercolor on paper
2008
80" x  60" 
Low Tide- Nova Scotia by Kenneth Millington
Low Tide- Nova Scotia
Watercolor on paper
2008
80" x  60" 
Gamma Afternoon by Kenneth Millington
Gamma Afternoon
Watercolor on paper
2008
60" x  80" 
Wreckage by Kenneth Millington
Wreckage
Watercolor
2007
60" x  80" 
Tunguska Event by Kenneth Millington
Tunguska Event
Watercolor
2007
60" x  80" 
Mound no. 5 by Kenneth Millington
Mound no. 5
Watercolor
2007
60" x  80" 
Mound no. 3 by Kenneth Millington
Mound no. 3
Watercolor
2007
60" x  80" 
Doom Bloom by Kenneth Millington
Doom Bloom
Watercolor on paper
2008
60" x  40" 
Binary Dinosaur by Kenneth Millington
Binary Dinosaur
Watercolor
2010
60" x  80" 
Beacons by Kenneth Millington
Beacons
Watercolor
2011
80" x  60" 
Landscape 1 (Ammonia Cliffs) by Kenneth Millington
Landscape 1 (Ammonia Cliffs)
Watercolor
2011
60" x  80" 
Landscape 2 (Remote Shore) by Kenneth Millington
Landscape 2 (Remote Shore)
Watercolor
2011
80" x  60" 

Artist Statement

Drawing interest from a post apocalyptic concept, my large- scale paintings provide a slow- motion glimpse of the time after. They specifically embody the moments or millennia post- event. By omitting the climax and freezing the aftermath, they examine the settling quality, the re-assertion of Gravity, and a time unbound by human perception. The chosen vantage point indicates an observer’s overview, a semi- distant participant at the epicenter.

 

Here, the medium of watercolor is abused and recast to capture the abyssal plain of oblivion; a purgatory landscape littered with carcasses of forgotten archetypes, extinct animals, and lost histories. I excavate these forms from the accumulated layers of paint; they are the free associations I make from the remnants of the previously destroyed paintings underneath. The resulting exploration produces residual color and dense atmosphere that are the by- products of this search, a process of wet erasures and heavy over- painting.

 

I find inspiration in history and science, such as the fossil record, cosmology, epics and sonar. Influential to my art making and imagery are my childhood experiences of fossil hunting and exploring along Seneca Lake and time spent in the Bolivian Andes and altiplano, my mother’s home country. Through these painted vistas I attempt to see deep time in both directions and use the subconscious to visualize this space.   

Artist Bio / CV

EDUCATION

2005 School of Visual Arts, New York, NY
Master of Fine Arts, Fine Arts
1997-98 Watercolor studies, Studio of Ricardo Perez Alcala, La Paz, Bolivia
1996 Rhode Island School of Design, Providence, RI
Bachelor of Fine Arts, Illustration

EXHIBITIONS

2006 Broadway Gallery “Denature”, New York, NY
2005 Delgado Tomei Gallery “Figuratively Speaking”, New York, NY
Eye Drum “Infusion”, Atlanta, GA
Visual Arts Gallery “The Last Show”, New York, NY
2002 Horton Gallery, Philadelphia, PA
Thomas Eakins House, “Work of the Muralists”, Philadelphia, PA
2001 Gallery 5 North “Second Nature”, Boston MA
The Philadelphia Watercolor Society Annual Exhibition, Philadelphia,PA
Nexus Gallery “Mural Arts Program Exhibition”, Philadelphia, PA
1999 The Memorial Art Gallery, Rochester NY
The Prouty Chew Museum, Geneva, NY
1998 The British Council La Paz, Bolivia (solo exhibition)
Galeria EMUSA, La Paz, Bolivia (solo exhibition)
1996 Niagara Frontier Watercolor Society Annual National Exhibition, Buffalo, NY
Woods Gerry Gallery, Providence, RI
ISB Gallery, Providence, RI (solo exhibition)

AWARDS

2005 Frieda Eiskoff Merit Award
Joan Mitchell Foundation Award Nominee
2004 Hispanic College Scholarship
2001 Elizabeth Greenshields Grant, Watercolor Project
1999 Elizabeth Greenshields Grant, Watercolor Project in the UK
1997 J. William Fulbright Fellowship, Watercolor Studies in Bolivia
Elizabeth Greenshields Grant, Watercolor Studies in Bolivia
The Stacey Scholarship, Painting Project
1996 Hallmark Greeting Cards Award

PUBLIC MURALS

2010 "Seneca 634" 93 Castle St. Geneva, NY 

2007-8 “The History of SEPTA” Torresdale loop, Philadelphia, PA

2006 “Arising Tide- Geneva Cycle” Exchange St. Geneva, NY
“Evening Horizon” 801 N. 11th St. Philadelphia, PA
2003 “Manayunk Passage” Cresson Street, Philadelphia, PA
2002 “Hydrological Movements- Mill Creek” 714 N. 48th Street, Philadelphia, PA “Waters Under Blossom Shade” 3038 Wharton Street, Philadelphia, PA