• SEPTEMBER 5TH - 29TH, 2019 at SAM Gallery >
AMERICA / Solo Show
group show with artists Liz Tran, Harold Hollingsworth, Junko Yamamoto and Kellie Talbot.
• INDUSTRIAL STRENGTH / SAM Gallery / Seattle, Washington
September 14, 2017 - October 15, 2017
group show with artists Iskra Johnson, Kate Protage and Kellie Talbot.
• TASTE / SAM Gallery / Seattle, Washington
November 9, 2016 - February 5, 2017
September 7 - October 6, 2016
June 29 - July 30, 2016
• MUSEO GALLERY in Langley, Washington ( Whidbey Island )
March 5, 2016 - March 27, 2016
• MUSEO GALLERY >
November 7, 2015 - December 2015
group holiday show in Langley / Whidbey Island, Washington
Opening reception November 7th / 5-7 pm
July 30-August 2, 2015
• AXIS >
May 2015 @AXIS, Pioneer Square / Seattle — a Two Person Show with Jeff Mihalyo & Kellie Talbot
"...Kellie Talbot brings the smell of gas and the tang of rust to the room in her large oils on canvas that depict the peeling paint, neon tubes and flickering bulbs of the American dream. Staking out old signs, derelict factories, and rust belt beauty, she lovingly recreates their every detail, honoring and preserving them in paintings that are both portraits and memento mori. For this exhibit, Talbot focuses on signs and scenes from her recent New Orleans artist residency, and debuts a brand new series of still lifes. The new series is a personal challenge to limit her palette to only four primary colors. Humble tools and everyday detritus from the back of the garage are set against the elegant black drapery of classic still life paintings, becoming objects of veneration..." —Sarra Scherb / Weave Magazine
November 13, 2014 @Vermillion 1508 11th Ave, Seattle, WA 98122
Opening Reception 6-9pm / The show runs through December 6, 2014
Kellie Talbot's paintings are instantly recognizable for their bold, almost exuberant, use of color. The dramatic juxtapositions of sunlight and shadow and the startlingly abrupt compositions are distinctive hallmarks of Talbot's work. Once-majestic signage, rusting machinery, and forlorn cemeteries are reoccurring themes. Her skill with oil paint is obvious: brightly-colored enamels peeling away from cold gray steel, the fragility of broken neon tubing or missing, rust emanating from a corroded façade—all are impeccably rendered. Though joyously colored, there is an inherent melancholy that underscores many of these works. Her paintings evoke not only time and memory, but also the poignant beauty that often lies before our eyes. For beauty can often be found in the most unlikely places, and Talbot has an exceptional gift for recognizing them.
Less obvious is the undercurrent of metaphor inherent in her work. Though ostensibly renderings of a vanishing American landscape, there is something more going on: these are not simply paintings of things, but echoes of lives once lived, of voices once heard and now stilled. They border upon portraiture. They are likenesses not only of architectural ruins, but odes to the nameless artisans and craftsmen who built them. One can almost sense the excitement that must have accompanied the building these structures, now left to weather and rust in out-of-the-way places. The welder who once joined the cold steel, the sign makers, the painters— the presence of their ghosts is palpable.
— Michael J. Deas
• HERE >
March 14 - April 25, 2014 / Bherd Gallery
Kellie Talbot and Troy Gua pair up in an unlikely road trip to explore themes of migration, manifest destiny, and the unique American yearning to get out on the highway. Presenting new works in mixed media, and oils on canvas and panel, Here is a two-person take on sense of place, movement and choice.
The two artists may have different approaches, but they often end up in the same spot. Talbot creates hyper-real paintings of neon signs, billboards, factories and oddities of the American road-scape. Her large-scale oils blow up certain sections of typography or texture to macro focus, letting us read the flaking paint, burnt-out bulbs and rust like a rebus. Her work often honors the neglected, decaying and passed-by in our modern landscape: old signs, crumbling architecture, forgotten cemeteries.
Gua’s work in mixed media plays with bright colors, shiny finishes, and sheen surfaces, all the better to conjure—and skewer—images of Hollywood perfection. The artist is best known for his “Pop Hybrid” series, visual portmanteaus that overlay the features of two celebrities, making a composite that is both eerily familiar and jarringly strange. His high-gloss works both support and parody our need for recognition, society’s interest in fame and notoriety, and our craze for nostalgia.
Talbot’s focus on American history, craftsmanship and decay contrasts perfectly with Gua’s humorous look at the pop status quo of American culture. From what we leave behind to where we think we want to go, these artists are sending postcards from their exploration of the frontier. Wish you were here!
Kellie Talbot's work revolves around the landscape of American artifacts, craftsmanship and history. Signs and typography, architecture, cemeteries and other emblems of society are the inspirations for her oil paintings. In this show Talbot continues her focus on the man made environment, exalting infrastructure and built objects that outlast the temporary individual.
JULY 5TH - JULY 28TH 2012 CORE GALLERY: This series is both a visual tour of New Orleans architecture, signage and cemeteries as well as a focus on a very particular character of New Orleans known as Ruthie the Duck Lady. Ruthie was an emblem of the Quarter. As a young girl she raised ducks and they followed her through the streets. Throughout her life her trademarks were her roller skates, a wedding gown and a floppy hat. These paintings of Ruthie are as a duck herself. She is a bride, an old woman and the ever present fixture of the Quarter, Napoleon Bonaparte. Like Ruthie, the city of New Orleans is eccentric. It is a city in a constant state of decay and rebirth. It is a city with a sense of humor and a sense of history. These paintings are an homage to an unconventional city and the characters who’ve called it home.
• VEGAS >
Signs are the oldest form of advertising. They are a fundamental factor in trade, commerce and industry. These paintings are inspired by the Neon Graveyard, a 3-acre outdoor collection of old Las Vegas signs. Craftsmanship, color, rust, design and typography form a landscape of American artifacts.
Exhibition at the Virginia Inn November 1st through December 31st, 2012 / Signage from New Orleans, Seattle, Leavenworth and Vancouver, B.C.
Group show with Greg Boudreau and Kate Protage at Bherd Studios May 2011.
Work at Gainsbourg in Greenwood through November 10th, 2011.
Solo show at Seattle's Virginia Inn / May/June 2011
"Featuring the artwork of resident artists John Osgood and Kellie Talbot. Talbot deftly captures and documents the lost craftsmanship of American artifacts and meticulously replicates the deterioration and faded glory of past times. Conversely, Osgood in his quirky, bold palette delves into the emotional side side of the economic downturn. Both artists create their work using bright colors and memorable images from Talbot's oil on canvas Seattle P.I. signage, to Osgood's acrylic & spray, wood cut-out angels down on their luck—their world is bound to strike a chord with the viewer." —Bherd Studios
Paintings available at Other Coast Cafe in Ballard during the month of October, 2011.
Gli Spuntini is a sampling of small paintings based on the subject matter that is reflected in other series. Enjoy these little snacks.
The Seattle Grain Facility is a 16 acre terminal on the Seattle waterfront. It has sixty-eight silos that hold 54,000 bushels of grain each and eight shipping bins in the headhouse that hold 40,000 bushels each. With its 3.99-million-bushel grain elevator, the Seattle Grain Facility receives, stores and blends grain. It provides an integral part in the job of transporting grain throughout the world by vessel or train.
This series is entitled "of New Things." They are paintings of industrial objects and landscapes interspersed with portraits of the immigrants who came to populate them. Rerum Novarum - literally, "Of New Things," is an 1891 papal encyclical, or worldwide letter to Roman Catholic Bishops, of Pope Leo XIII stating that workers, as people of God, had a moral right to a living wage and a voice in the workplace. It was the first time the Vatican had come out on the side of labor movement's aspirations and had considerable influence on the way U.S. Catholic bishops--a large portion of whose dioceses abounded in Irish, Polish, German, and Italian immigrant workers--addressed the issue from that time on. --"The Lexicon of Labor," R. Emmett Murray
Jobs that produced tangible objects of iron and steel are being pushed out, traded in grasp of the New. What remains is a language of artifacts in the American landscape formed by signs and industry that communicates through word, design, typography, color and the state of repair. It is this language that conveys society's economic, political, social and moral aims.
Group Show: VIGNETTES at Bherd Studios, Greenwood Seattle, May 11-June 1, 2012
At the peak of WWII, Bremerton was home to an estimated 80,000 people due to the war effort in the Pacific. In the 1970s, Bremerton's population dwindled to just above a quarter of what is was during the war. And in 1978, the Bremerton City Council declared the entire downtown as a "blighted area". As economies change, so do cultures. Jobs that produced tangible products of iron and steel are being pushed out, traded in grasp of the New. These paintings pay tribute to Bremerton's history through the exploration of architecture from its boom years.
Robert Henri, an early American painter and teacher, believed that the artist was a manual worker of images and that that made him one with the city and its people. He wanted his students to learn from Walt Whitman and embrace the city. In a "Song for Occupations" Whitman writes: "...The work and tools of the rigger, grappler, sail-maker... In them realities for you and me, in them poems for you and me..." For me, there is beauty in machinery and architecture. Workers do not appear in the paintings, but are felt through their tools and creations. These objects become more beautiful with time.
Cemeteries have long been the subject of art. From ancient poets to Morrisey they remind us of the rules that govern us all regardless of race, culture, wealth or belief. Sun and shadow, light and dark, life and death: eternal themes that prove our time is not new. The low ground of New Orleans and Key West force the dead to live above ground. What cannot be buried becomes its own society. Roads, neighborhoods and overcrowding are human problems and only death quiets the quarrels.
As economies change, so do cultures. The jobs of our fathers, jobs that produced tangible products of iron and steel are being pushed out, traded in grasp for the New. These paintings explore the industrial neighborhoods of Seattle, from Ballard to Georgetown. But instead of being an exercise in nostalgia most everything in the paintings still functions, works ( the dust hopper was razed —shop moved to a new location; the ammo pier was for battleships ). There are no people within the frames, but the workers are felt through their tools.