Atlanta Journal Constitution : Kai Lin Art is inclusive, inviting and diverse

By Shelley Danzy, ArtsATL

Nov 22, 2021
SOURCE

A look at the West Midtown art gallery, a local fixture since 2008.

“What we say is as important as what we do,” Yu-Kai Lin, owner and director of Kai Lin Art, told ArtsATL, “and hopefully they’re aligned.”

Recently awarded TripSavvy’s Editors’ Choice Award for Best Gallery in Atlanta 2021, Kai Lin Art is aligned, indeed. Lin opened his gallery doors in 2008 to create a space that was inclusive, inviting and diverse. He is as engaging as the artwork. “You shouldn’t feel like you need to read a thesis to understand what you’re seeing,” he said.

Lin used to hold eight shows each year pre-pandemic. Now, there’s a group show that continually evolves and changes depending on what’s being sold to collectors and what’s being pulled by interior design firms, art consultants, museums and major institutions. There’s some continuity with what’s being presented as a collective, a curated collection of works that complement one another.

Most of the gallery’s artists are from the Southeast, creating work that has parallels in terms of aesthetic, palette and content. One artist of note, who died earlier this year, was Larry Jens Anderson. The last piece of Anderson’s art, “Learning to Fall,” is on show at the gallery, and Lin is planning a retrospective of his work in 2022.

THE PARTICULARS: 999 Brady Ave. NW, Suite 7, Atlanta. Noon-6 p.m. Thursday and Friday; noon-5 p.m. Saturday; and by appointment. 404-408-4248, or email info@kailinart.com. Lin and his team, Luke Hamilton and Aidan Gorey, gladly welcome all. Masks are strongly suggested. Follow on Instagram and Facebook.

THE LOOK: The gallery is on the corner of 10th Street and Brady Avenue, in what was known as the meatpacking district. It’s a 3,000-square-foot space, with lots of wall space that accommodates 50 to 80 pieces of art. It’s in the midst of other places worth exploring, including Out Front Theatre Company and Miller Union restaurant.

ON VIEW SOON: “Wonder,” a small-works show that will be up for the holidays. It opens Dec. 3 and runs through Jan. 21.

COMING UP: In 2022, look for the Larry Jens Anderson retrospective as well as the Atlanta Printmakers Studio Print Biennial.

SPECIALTIES: Mainly 2D and 3D work, mixed media, or paintings on canvas next to works on wood panel or paper. Some photo-based realism, as well as photo-based illustrative work that’s elevated beyond just a photo. The work is unique, original art, reasonably priced and created in the Southeast. Most of the artists are Atlanta-based or from other parts of Georgia. “Artists have something to say. They create through their rich tapestries of experiences, histories and ancestry that brings them to this time, this place and this piece of art,” Lin said. “You can’t pin down why you feel what you feel, but that’s what makes art soul stirring and really compelling.”

MORE ABOUT LIN: Lin graduated from Emory University with a Bachelor of Arts in Music: piano performance. But the visual arts, it turned out, are his first love. “I’m actually an educator broadening the understanding of what it means to be human,” Lin said. “We’re all a work in progress learning from each other through the eyes and ears of composers and the eyes of artists who are creating and allowing people to feel serendipity, to feel inspired and to feel the sublime in the things that they’re experiencing.”

MOST MEMORABLE: Anderson (1947-2021), represented by the gallery since its inception, passed away in August. He was one of Lin’s mentors in life with his words of wisdom, such as sometimes the decision is to not make a decision; sometimes the decision is to do it all. Lin was in Bentonville, Arkansas, at Crystal Bridges Museum of American Art when he received the news. “It was very poetic to be in a gorgeous museum when I found out my mentor’s gone, but I don’t feel lonely,” Lin said. “The things that we create are the things that are our legacy. [Larry’s] legacy is seen through the lines and the mistakes that became happy accidents: Treasured art on the walls of people’s homes, and in institutions and museums all over the world.”

LAST WORD: “Art is elusive, art is temporal and art is not to be contained. We’re stewards of art. Through history, time and culture, you’ll find it’s the artists who create culture. They create work that really matters to them and that’s what takes us beyond our understanding.”

Credit: ArtsATL









WONDER :: Dec 3 - Jan 21

OPENING RECEPTION
FRIDAY, DECEMBER 3RD, 2021
7:00 - 10:00 PM

FREE AND OPEN TO THE PUBLIC
EXHIBITION RUNS THROUGH JANUARY 21, 2022

Kai Lin Art is pleased to announce WONDER :: a small works exhibition from December 3rd, 2021 through January 21, 2022. WONDER is an evolving group exhibition of small works just in time for the holidays and will feature the art of:

Fabian Williams, Cameron Bliss, Lela Brunet, Philip Carpenter, Steven L Anderson, Todd Anderson, Marc Boyson, Dale Clifford, Marryam Moma, Patrick Heagney, Elliston Roshi, Greg Noblin, Tracy Murrell, Joe Camoosa, Stan Clark, and Luke Hamilton.

Our FANTASTICAL exhibition will be featured in our main gallery in tandem with WONDER in our grey gallery. We hope you’ll join us for this dynamic exhibition!

EXHIBITING THROUGH FRIDAY, JANUARY 21, 2022

FOR MORE INFO CONTACT 404 408 4248 OR INFO@KAILINART.COM

KAI LIN ART voted Best in Atlanta 2021 by TripSavvy

We are excited to share TripSavvy awarded our gallery Best in Atlanta 2021 for their fourth annual TripSavvy Editors’ Choice Awards!
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NEW YORK, Oct. 19, 2021 /PRNewswire/ -- Today TripSavvy (www.tripsavvy.com) announced the winners of its fourth annual TripSavvy Editors' Choice Awards, which honor the best of the best in the travel industry. After undergoing rigorous review by TripSavvy's data engineers, potential winners were evaluated by TripSavvy's award-winning writers and editors. Returning from last year's special edition awards, which honored pandemic heroes, this year's "Industry Leaders" category spotlights those businesses and innovations promising a bright future for travel.

More than 60,000 businesses across the world were reviewed for the 2021 awards, with fewer than two percent passing TripSavvy's writers' and editors' rigorous testing and standards. The expert-curated winners were chosen for their exceptional service and customer experience. This year's honorees range from iconic institutions like Adare Manor and Royal Horseguards to natural marvels like Puerto Rico's El Yunque National Forest. In particular, the Industry Leaders category calls out the best of the best, championing the businesses creating the best experiences for their guests and those sparking positive change in the industry and beyond. Some of this year's notable Industry Leaders include Viking Cruises, Send Chinatown Love, and the advent of the digital nomad visa.

"We're excited that the TripSavvy Editors' Choice Awards are back to name the top expert-recommended travel destinations around the world this year," said Molly Fergus, General Manager of TripSavvy. "It's more important than ever to help our millions of readers and consumers travel with confidence, and these winners, whether local staples or household names, are reminders of all the joy and inspiration found in travel."

TripSavvy takes a two-step approach to determine its Editors' Choice Awards winners. First, its award-winning data team uses machine-learning technology to pinpoint outstanding businesses, analyzing both TripSavvy's audience insights and reviews across the Internet. The team matches those findings against TripSavvy's expert-written content to identify those that outrank competitors in quality, considering factors like customer service, value, and category fit. Finally, TripSavvy's seasoned editors and writers scour the results, selecting the most exceptional, noteworthy, and trustworthy businesses and destinations for the final accolades.

FANTASTICAL opening photos

Wow what a phenomenal opening for FANTASTICAL! Thank you to everyone who came to the show. We are so very grateful for your support and friendship.

Please enjoy the photos of the opening. The show will run through November 12th and we are open Thursdays-Saturdays in the afternoon and by appointment. See you by the gallery!

(photos: valentinsivyakovphotography.com)

FANTASTICAL exhibiting from September 10 - November 12, 2021. FANTASTICAL is a group exhibition featuring the following artists:

Steven L Anderson, Spencer Herr, Tracy Murrell, Marryam Moma, Todd Anderson, Jeremy Brown, Lela Brunet, Kevin Palme, Stan Clark, Greg Noblin, Larry Jens Anderson, Elliston Roshi, Jason Kofke, Patrick Heagney, Joe Camoosa, Alice Collins, Chloe Alexander, Johnny Warren, Chad Hayward, Cameron Bliss, Luke Hamilton, Marc Boyson, Sophia Sabsowitz and Lisa Hart

EXHIBITING THROUGH FRIDAY, NOV 12, 2021

FOR MORE INFO CONTACT 404 408 4248 OR INFO@KAILINART.COM

FANTASTICAL :: Sept 10 - Nov 12

Dear Art People,

After an 18 month hiatus we are pleased to invite you to our first exhibition of 2021 :: FANTASTICAL, a group exhibition!

OPENING RECEPTION
FRIDAY, SEPTEMBER 10, 2021
7:00 - 10:00 PM

FREE AND OPEN TO THE PUBLIC
EXHIBITION RUNS THROUGH NOV 12

FANTASTICAL exhibiting from September 10 - November 12, 2021. FANTASTICAL is a group exhibition featuring the following artists:

Steven L Anderson, Spencer Herr, Tracy Murrell, Marryam Moma, Todd Anderson, Jeremy Brown, Lela Brunet, Kevin Palme, Stan Clark, Greg Noblin, Larry Jens Anderson, Elliston Roshi, Jason Kofke, Patrick Heagney, Joe Camoosa, Alice Collins, Chloe Alexander, Johnny Warren, Chad Hayward, Cameron Bliss, Luke Hamilton, Marc Boyson, Sophia Sabsowitz and Lisa Hart

EXHIBITING THROUGH FRIDAY, NOV 12, 2021

FOR MORE INFO CONTACT 404 408 4248 OR INFO@KAILINART.COM

A Tribute to Larry Jens Anderson {1947 - 2021}

A Tribute to Larry Jens Anderson {1947 - 2021}

Dick. All I saw was Dick — of Dick and Jane. Except there was no Jane, just Dick. Dick with Fruit, Dick with Vegetables, Dick in schoolhouses that resembled effigies reminiscent of your adolescent days in Randall, Kansas. The artwork was beautifully illustrated mixed media work, sometimes with glitter, sometimes with colored pencil, often starting as graphite drawings elevated into fine art with your deft lines. This is what I remember from our first studio visit.

You loved creating, you loved the act of drawing, you loved exploring mediums — ink to conte, crayon to collage, flocked metallic substrates to watercolors. Your work was singular and outstanding, imbued with layers of history, of experience, of mistakes that became happy moments — skillfully working your way out of the image to create delicately refined, sublimely contemplative, exquisitely beautiful works of art. Throughout your 50+ year career, your artwork now adorn homes, offices, museums and private collections that span 7 countries.

Larry Jens Anderson, you were not only my friend but one of my greatest mentors in this life (and to many others). Because of your kindness, love and dedication to the arts, our lives are enriched and inspired. Thank you for your broad abilities to expand the minds and hand of those you’ve touched. Thank you for your willingness to live your truth and explore conversations of sexuality, of loss, of anger, of religion, of gun violence, of disease, of redemption, of hope, of life’s sweet and bittersweet complexities. You taught us how you live your truth so that those in your sphere are open to live in theirs. You have taught me so much about life and art and for that I’m eternally grateful and forever changed. 

Though you’ve left us in this realm, your legacy will live on far beyond. The ripple effect of your life will permeate those who have been touched by your art. I will miss your cheshire grin, I will miss our meals, holidays, celebrations and conversations. I will miss your presence at the gallery, your gentle guidance, and your mindful, magnanimous spirit. 

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With gratitude,
Yu-Kai Lin

Installation + Instagram + Inauguration @kailinart

Dear Fine Art Folks,

We would like to share with you a gallery of art installations curated throughout homes, offices and other artful, art-filled spaces. Please enjoy these beautiful environments now complete with fresh artwork.

For the latest musings and happenings at the gallery visit:

KAI LIN ARTSTAGRAM

Also, we are fast approaching our inaugural 2021 exhibition of FANTASTICAL :: a group show featuring 22+ artists from across the Southeast. The show will open:

Friday, September 10th, 2021
7:00 - 10:00pm

In gratitude,
Yu-Kai Lin + Artists // 404 408 4248

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What we've learned...

Dear Friends,

We are so grateful for those that have helped us get through this past year and a half. It’s been odd not being able to host anyone here in the gallery for our monthly events, openings, artist talks and networking functions.

We are looking forward to our upcoming relaunch exhibition which is a group show featuring 22+ artists. Please save the date for:

FANTASTICAL
Friday, September 10th, 2021
from 7:00 - 10:00pm

featuring the artwork of Steven L Anderson, Spencer Herr, Tracy Murrell, Marryam Moma, Todd Anderson, Jeremy Brown, Lela Brunet, Kevin Palme, Stan Clark, Greg Noblin, Larry Jens Anderson, Elliston Roshi, Jason Kofke, Patrick Heagney, Joe Camoosa, Alice Collins, Chloe Alexander, Johnny Warren, Chad Hayward, Cameron Bliss, Luke Hamilton, Marc Boyson and Sophia Sabsowitz.

Please check out our online KAILINART.com/shop for all your art filled needs. We are open through the summer Thursdays - Saturdays and by appointment. Happy safe summer and see you on the 10th!

In gratitude,
Yu-Kai Lin

The intrepidly illustrious art of Stan Clark @kailinart

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Tell us a little bit about your art. Do you consider these recent works drawings, paintings, printmaking, or something else? 

All of the above! My work usually combines painting techniques with techniques that are associated with graphic art or illustration. I was an illustration major in college, but I petitioned the administration to allow me to take painting classes as a supplement to my illustration curriculum. I was that weird guy who used oil paints to finish his illustration assignments and inks to finish his painting projects. I’ve always found that the establishment uses flimsy criteria to distinguish between different disciplines in art making, so I continue to have my own multidisciplinary approach. 

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There seems to be an otherworldly, psychedelic quality to your work. Where does that aesthetic come from? 

I believe that just comes about naturally as I spend time working with the subject matter. These pictures often start as sketches I make from observation in daily life. But the finished image comes together weeks later in the studio, and at that point I’m relying on a combination of drawings and photo references but mostly on recollections. I’ve always been interested in the way that memory changes over time, allowing certain details of a story to become more pronounced or exaggerated, while others become more vague. I lean into that process when I’m working, and I let my pictures take on a life of their own, sort of the way a rumor takes on a life of its own after being repeated enough times. As I make changes to the art, I usually let those changes remain visible to the viewer. That allows for a sense of time to be represented in the image, because the different layers of development are evident. I love making art that strikes other people as psychedelic, but really life itself is pretty psychedelic when you start looking deeply at it. 

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Tell us a little about your approach to color. You seem to enjoy using neon color schemes and thick lines.

“Neon Schemes and Thicc Lines.” That sounds like a great name for a club!  Some of that comes from a Pop sensibility and some of it is simply a formal preference. I’d say that I consider line-work to be the “bones” of my paintings. If the bones are strong enough, then I can really push the limits of the color without the whole thing falling apart. I spend a lot of time getting really precise about the line arrangements just so that I can work loosely and intuitively with the color at the very end. Another analogy is that line-work acts like a rhythm section does in a piece of music. It provides structure for the chromatic points of the melody. There are times when I do prefer more reserved color schemes, but in general I feel like art without powerful color is like music without catchy melodies. 

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You refer to Greek mythology in a few of your pieces. What draws you to mythology and how does it inform your practices? 

Myths are just stories that have been told too many times. They’re stories that usually explore the phenomena of ordinary life but with extraordinary characterizations. That’s basically what I want my art to be as well. I find well known myths or parables useful because they’re common points of reference. I often make art based on narratives that are very, very personal to me, but I find frameworks for those stories within mythology. Presenting a personal story as a myth helps the viewer understand the scene. I think art should have a little something familiar and a little something new in it. Look around and you’ll find that to be the case with everything from Broadway’s Hamilton to pretty much anything Disney is producing for TV these days.

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What emotions are you most interested in investigating in your work, and why? 

Emotions are a tricky thing to approach in a deliberate way. I tend to just roll with whatever I’m feeling at the time. I will say that the feelings and aesthetics which activated my imagination as a child work pretty strongly on me today. I always stop midway through making art and ask myself if the 12 year old Stan would like it or not. If that answer is “yes,” then I know I’m headed in the right direction. 

How does your choice of media inform your content? How do the means speak to the ends? 

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Often my choice of media IS part of the content. Going back to the subject of childhood, I wasn’t a kid that fell in love with art by visiting museums. I don’t think I voluntarily entered an art museum until I was 18. Instead I found art inside comic books, and on the covers of raggedy paperbacks at the school library, and in those cheaply-printed color cartoons in the Sunday paper. So my love affair with art was a love affair with printed work and with paper itself. It wasn’t just books and comics either. Brightly colored paper is what candy comes wrapped in. It’s what’s left over when fireworks explode. I actually have a picture of La Perla, San Juan in your gallery now and it is partially made of discarded firework paper I found while visiting Puerto Rico. Paper is just fun, and besides that, it’s one of the oldest and most effective vehicles for communication we have. It’s a noble and universal media that still holds its own against the deluge of digital imagery we’re exposed to in the world.    

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Speaking of digital imagery, explain to us how it factors into your practice.

Like most people, I have a phone on me at all times. Being able to pull it out and make a sketch with my fingertip in seconds, and instantly cycle through different color or layout possibilities is incredible. I have several years worth of my own drawings in the palm of my hand at any time, along with thousands of pictures of my lived experience. Tablet and cellphone technology has helped me immensely because when inspiration strikes, I’m able to engage with it immediately instead of spending time mixing colors or preparing a substrate. Any tool that helps me narrow the time between thought and expression is useful, otherwise the muse often escapes. Printing technology allows me to transfer those designs to large swaths of watercolor paper or even canvas. I often start with multiple versions of an image in that way and take them in different directions until I settle on one “final” version. Sometimes the final version is made by combining all of the alternative takes into one picture. Having digital references is also super helpful with collage techniques because I can create a lot of variations of any one element and reorganize them until I have something that fits. 

Do you have a favorite piece of yours? 

Just myself! #workinprogress

The wondrous world of Steven L Anderson :: Q & A

Nature plays a pivotal role in the work you create. What is your affinity toward your explorations of roots and trees and what are your first memories of appreciating the solace that comes with being in nature?

Roots and branches are anatomical parts of trees and plants, but they are also concepts that describe functions of organized systems, whether speaking of nature or in cultural or societal terms. Finding these kinds of connections and throughlines of thought has opened up a seemingly endless subject matter in my artwork.

These ideas began to click when we moved to Los Angeles right after 9/11—my friends all in grad school and me wondering what on earth my artwork was going to be about. Stoned on my back patio, surrounded by sun, hot pink bougainvillea, and California fan palms; struggling through Deleuze & Guattari’s writing about rhizomes, I began to hold and sustain a real sense of wonder about my strange new surroundings.

I used to roam around outdoors in the same sense of wonder growing up in Michigan. Adventuring, I’d call it, and once beyond our yard, I really was out in the countryside. I’d wade through the creeks, tramp through brush and forest. I’ve gone back to this in artist residencies in Joshua Tree National Park, the Hambidge Center in north Georgia, and will do more this year at the Blue Heron Nature Preserve in Atlanta. It’s like an up-close, performative research of my surroundings—crawling in the ivy and climbing trees and documenting the whole thing on video.

Your palette tends to be a fall and winter palette with muted tones and color combinations. What informs your color choices? Do you see a series in the future exploring spring and summer palettes? 

It’s true, I absorb the colors that surround me out in the world. My first paintings of tree branches while I lived in Chicago in the ’90s had no leaves, my color palate was mostly grays. When I lived in Los Angeles in the ’00s, I focused on agaves, aloes, and other succulents. They were bright greens and yellows, often hot psychedelic colors. My color palate changed again in Atlanta to a deeper green and browns. I used more black & green in my recent Forest series, inspired by a moss-covered stack of old logs. Sometimes my colors come from a desire to experiment, like the blue-on-brown Tree Ring pieces from 2019, or current group of works in progress—mashups of Victorian botanical engravings with bright Morris Louis-like washes.

You've garnered a lot of success and recognition for your work from museum exhibitions to traveling shows, corporate and private collections to artist residencies abroad. What drives you and what does it take to get to where you are in your career?

What drives me is probably no different than what drives a kid to have their drawings hung up on the family refrigerator. I have ambition, but it’s tempered by the gratitude I have for those that have helped me along the way.

In the 20+ years since I’ve graduated from art school, I’ve been able to develop an attitude, through many successes and failures, of allowing my creative urge to just plow forward. It’s an instinct I’ve had to consciously grow—unlearning my creative inhibitions. Part what it takes is found in the Boy Scout motto: Be Prepared. If I’m prepared with the skills I’ve learned, if I’ve invested in my tools, and have created space and time to operate, I can engage with the creative flow.

There’s an incredible amount of hard work that comes into developing and maintaining my art career: menial tasks, dead ends, backsliding, trials-and-errors, risk-taking, throwing money down the drain. But these are all opportunities for learning and improving, and they make the successes all the sweeter. What does it take? All this plus a lot of luck.

What kind of music do you listen to when creating? What factors determine each series and body of work? 

I listen to many different genres of music, and will usually play a few albums to death before slowly picking up something new. Right now I’m rocking the latest Avalanches, MF DOOM’s catalog, Destroyer’s Rubies, Shabazz Palaces. I’m dipping into a South American minimalist electronic scene I came across. I’ve rediscovered The Fugees and Digable Planets; and Aretha Franklin and Nina Simone are firmly in the mix.

Music is essential when I’m starting out on an artwork, but once I get in a groove with the Tree Rings pieces, I’ll listen to podcasts: Fresh Air, Revolutions, BBC’s In Our Time, Levar Burton Reads. Audiobooks are another good way to keep the vibe going—I like artist’s biographies, cultural essays, and 20th century literature.

 As a fellow gallerist at Day & Night Projects as well as a working artist and graphic designer, how do you juggle your multiple, varied careers and stay grounded and focused on your practices? 

It’s a lot to juggle, but I have a very supporting family, and colleagues at Emory who appreciate how I pursue my interests. My Day & Night team kicks ass as well. It helps that I’m a night owl—I get that from my Mom.

Do you have any career advice for budding artists that admire your trajectory and would like to be a part of the arts scene?

It’s very important for artists to make quality work, of course. But to find any kind of success, artists need to build relationships and community—and to do it with enthusiasm, graciousness, and generosity. 

If you’ve just made work that you’re proud of, try to set up studio visits (in person or virtual) with curators, gallerists, and other artists. It doesn’t have to be a grad-school critique, or a sales pitch—it’s just a good excuse to strike up a conversation centered around the work you’re making, and what you’re thinking about. If you’re willing to listen to different points of view, you’ll be amazed at what you can learn about your work. Not every studio visit will lead to a direct opportunity, but these dialogues become woven into the fabric of the scene. Don’t forget to be generous when other artists ask for your feedback.

If you’re committed to creating community, it’s not really that hard to start something up. Can you & some friends scrape together enough to rent a small space or website, and apply your energy & skills toward it?

What brings you most joy when creating? What does the future have in store for you?

It’s hard for me to calibrate joy, but I love it when I’ve got lots of energy happening in the studio. When afternoons turn into late nights and it feels like no time has elapsed, that’s the flow that I love. 

I’m excited about the future—the end of the pandemic is in sight, finally. Personally, I’ve got some new artworks in my studio that will see the light of day. I’m looking forward to my year as Artist-in-Residence at the Blue Heron Nature Preserve. I’ve got a solo show there in November, and I will also make a permanent outdoor artwork, which will force me to experiment with different materials than what I usually use.

 

 

The Art of Spencer Herr

Dear Friends,

We are pleased to announce that we are now exhibiting the work of Spencer Herr

If you ever wondered what Marie Antoinette would look like on Rosie the Riveter’s body on a Basquiat Warholian painting whilst eating jelly doughnuts, or if you love a portraiture of a young Bronzino in flowers, come by for a viewing :)

For inquiries and availability, connect with us at 404 408 4248.

In gratitude,
Yu-Kai Lin // info@kailinart.com // 404 408 4248

Q&A Interview with Cameron Bliss :: The Storyteller

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What brought you to art as more than a hobby?

My mother and grandmother are both painters, so painting and creativity have always been around me, which helped to inspire and shape my desire to develop as an artist. I don’t feel that I have labeled myself as either a hobby artist or a professional; I just paint because I can’t not paint. If someone happens to relate to one of my paintings and wants to live it in their home, then what could be a greater compliment to an artist?

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What brings you inspiration to create your pieces?

Sometimes I stumble across an image of a room that inspires me; sometimes a face, a pose, an outfit, or a striking color scheme. In this era of social media, imagery is everywhere and very easy to come by. But most times inspiration comes from within; Suddenly and seemingly from out of nowhere (and not always at a convenient time), I will begin to see “flashes” of a painting slowly being built up in my mind. These flashes of imagery can take place over a period of few days and up to a couple of weeks. It’s such an amazing process to witness paintings emerging from a dark stillness within. It’s a bit like reading a really great book and with each turning of the page watching the story and characters unfold. Once the imaging process seems to have come to a completion, its time to put it to a canvas and meet the characters there.

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How has the pandemic affected your painting?

As a rule I typically paint pairs of figures, but the last three paintings I have completed feature a solo figure. This fact didn’t occur to me before, but now I am thinking the solitary theme must have something to do with the lonely feelings felt by so many people around the world currently.

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Your work often has a narrative element and a wistful nature of the characters. What do you think they are pondering?

For the most part, I don’t know who these characters are. As I paint the figures that live on my canvases, I try to imagine what they may be thinking. Sometimes I can hear what their story is, but most of the time, the viewers guess is as good as mine! They seem to live independently of what I think of them. I think it’s fun to guess what they may be thinking. People often ask me why my characters look so unhappy, but I don’t see them as sad, they are just individual souls caught unexpectedly in a seemingly mundane moment in time.

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Explain to us your process for making a new piece of work.

After I have my general idea of what I want my painting to look like, I research elements that I want to include in the piece. I scour magazines, books, and the internet for faces, bodies, clothing, environments, animals, objects, or anything that seems to “fit in” with the imagery in my minds eye. I then assemble these pieces into procreate to create my “sketch”. It generally looks like a big hodgepodge mess, but I enjoy the challenge of making this collage a cohesive painting on canvas. Some paintings go smoothly while others require several modifications and reworking along the way.

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The more you look at Cameron Bliss’s work, the more you see. Educated at the Savannah College of Art and Design, Bliss started out painting landscapes but now focuses on portraits. Her paintings mostly show women, whom she generates from her imagination and some photographic references. They meet and challenge our gaze, and the interiors they occupy, rich with plant life and pattern, contain insights into their minds and hearts. Alice Neel, Eric Fischl, and Chantal Joffe serve as inspiration in the way that they, too, use paint not to substitute for a photograph but to render the artist’s impressions of the world. Her work hangs in private collections around the world, and has been exhibited in galleries in Athens, Savannah, Atlanta, Virginia and Wisconsin. Bliss currently lives in Winterville, Georgia, where she serves on the Winterville Arts Council and is invested in empowering the youth in her community through the arts.


If I had to be alone for my birthday during quarantine, “How lovely of you to come to my party” seems like an ideal and charming setting.

This painting began as two women playing a child’s hand clapping game, with only a single dog as the other figure. Slowly the dog and 2nd girl faded from the scene transforming into a pony and a bird, but still maintaining a Peter Pan, child-like quality. Did the figure disappear due to the madness that is felt after being separated from friends and relatives for such a long time? From missing that single hug from a loved one? Has the subject refused to grow up and face the reality in the world today?

Many of my paintings seem to have a theme song that plays through my head as I work. The song “Feeling Good” was running through my mind during this painting, taking me back to time and a place before we were advised to maintain a certain distance from other humans. Or maybe the song was taking me forward to a time where we are again free to hold those who are close to us.

Living through this pandemic has changed us in ways we don’t yet realize. The vine that once lived outdoors has slowly made its way into the interior of the mind, where it will leave its indelible mark for generations to come.

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One of the things I am currently missing is traveling. I have an obsession with outdoor markets with their new and exotic smells, tastes, sights and sounds. This painting came together quite easily for me. I knew I wanted to paint this background which is based on some photos I took on Japan Surabaya in Jakarta some years ago. And then when I stumbled across this magical photo of Jenell (a muse from Instagram) as a puppeteer, I knew that she belonged as the lone figure in the painting. I love the mystery in this piece and how it makes the viewer wonder what powers she may possess; and who is the puppet?

The Art of Kevin Palme

Dear Collectors,

We are please and excited to share with you the latest body of work from Asheville-based painter KEVIN PALME in this collection of ice and origami crane paintings.

ARTIST STATEMENT
“At the outset of the pandemic, I was spending a lot of time at home with my kids working with them on schoolwork. One afternoon, I found a small paper crane on my oldest daughter’s bookshelf and was struck by the simplicity and elegance of it. I had never made origami but I appreciated the idea of a delicate piece of paper being folded into an image of a bird. I knew right away that I wanted to paint it. 
The process of painting the origami is revealing. Though at a distance a piece of origami might appear bold, with its beautiful geometry and strong lines, in reality each fold and wrinkle, the micro-tears in the paper, and the inherent imperfection of manual folds tell stories about our vulnerability and ultimate impermanence. Knowing this about ourselves weights us to the ground. Painting these birds, suspended in the sky in a moment of flight, transforms them and allows for an experience of freedom. Even if only on the canvas, each bird transcends its limitations and becomes a metaphor for what might be possible for us.”

We hope you enjoy the works below and please contact us if you have an interest in purchasing a piece or seven. Our gallery is now open for socially distanced private scheduled tours and also Thursdays - Saturdays.

In gratitude,
Yu-Kai Lin // info@kailinart.com // 404 408 4248

 
 

FOR AVAILABILITY & INQUIRIES
404 408 4248 | INFO@KAILINART.COM

ArtsAtl.org In Our Own Words: Yu-Kai Lin, the owner of Kai Lin Art

In Our Own Words: Yu-Kai Lin, the owner of Kai Lin Art
source

GAIL O'NEILL
DECEMBER 2020

Yu-Kai Lin owns and directs Kai Lin Art, a contemporary art gallery founded in 2008. He has collaborated with curators, developers, designers and consultants across the Southeast to build private and public collections. Lin, also a pianist and teacher, has a music degree from Emory University. (Photo by Robie DuChateau)

I think the singular lesson that stands out in this unprecedented year is learning how to appreciate. The pandemic, the election, the racial injustices, the isolation from social distancing, the upheaval of everything we’ve ever known — all of these factors have propelled us individually and collectively to seek some sense of grounding and stability. This year has taught me that appreciation is the answer. To appreciate the idleness that brings clarity. To appreciate the clarity that brings purpose. To appreciate the purpose that brings a new pathway forward.

Our gallery has weathered a few gales throughout our 12-year history. Like many small businesses, this year is one of the most challenging we’ve had to face. The process of keeping an arts institution thriving has always been unpredictable and precipitous. Art is fleeting, it’s subjective, it’s elusive. I think the takeaway of 2020 is to remain flexible and find ways to pivot and create. Additionally, we remain grateful for the relationships that we’ve fostered over the years. Our network of artists, patrons, consultants and collectors who’ve continued to support our gallery gives us intention and purpose.

I am definitely hopeful for the future. This year has renewed my belief that we are all creators. This time of reflection gives us the ability to contemplate the lives we’d like to lead and the generosity of spirit that comes with being alive. To create the life we want and the environment for understanding and unity so that our lives and the lives of those in our sphere are nourished and enriched.

The Art of Joe Camoosa

Dear Friends,

We would like to share with you the latest collection of works by Joe Camoosa that are now on exhibit and available at the gallery.

For inquiries and availability please connect with us at 404 408 4248 or info@kailinart.com

We are excited that Joe Camoosa’s artwork has been recently selected to be in the collection at The Federal Reserve Bank of Atlanta as well as the corporate collection at Capital One Avalon in Alpharetta, GA.

If you would like to plan a visit to the gallery, we recommend you call and schedule a time frame. We are now open Thursdays - Saturdays from 12:00 - 5:00PM and by appointment.

In artful gratitude,
Yu-Kai Lin

STATEMENT

I make paintings and drawings that explore the relationships between shape, color, patterns and repetition.  My work is informed by my love for architecture, music, and cartography - particularly the 1972 redesign of the New York Subway map by Massimo Vignelli.  

In tandem with large scale works on canvas, I make small, concise, bold, graphic works on paper and Mylar that combine drawing and collage, allowing negative space, limited elements and materials to take the lead - to say more with less. This work relies on restraint; compositions are edited, rigorously arranged and rearranged to forge a singular image that reads as a symbol or icon.  

I strive for shifts in perception - the momentary in-between space alternating between recognition and abstraction - of being someplace and nowhere at the same time.  

BIO

Joe Camoosa (b. 1969, Asbury Park, NJ) lives and works in Atlanta, Georgia. He received an MFA in painting and drawing from the Lamar Dodd School of Art at the University of Georgia and graduated from Florida State University where he studied Mass Communication and Anthropology. His work is held in numerous corporate and private collections and has been exhibited in galleries in Atlanta, Nashville, Asheville, Richmond and New York, and museums such as MOCA GA, Atlanta Contemporary, The Hudgens Center for the Arts, The Georgia Museum of Art, and The Macon Museum of Arts and Sciences. He was a member of the Studio Artists Program at Atlanta Contemporary, a 2016-2017 Walthall Artist Fellow and is represented by Kai Lin Art, Atlanta. Camoosa is currently an adjunct instructor at The Ernest G. Welch School of Art & Design at Georgia State University.  

The Zoom where it happens

Dear Friends,

Are you at home and looking at your walls thinking you want to freshen up your space with beautiful works of art that brings inspiration into your walls? Visit us at our shop to find a piece or five for your spaces and be artful once more!

kailinart.com/shop

We are currently open on Thursday and Saturday afternoons and by appointment. Still offering curbside artful pickups and socially distanced private viewings.

Stay healthy, stay creative, stay artful,
Yu-Kai Lin
Owner & Director
404 408 4248 // info@kailinart.com

 
 

FORWARD :: is forward

Dear Friends,

We are pleased to share with you our most current exhibition of FORWARD, a group exhibition of 30+ artists that have graced our gallery over the past 12 years. This exhibition will evolve over the next year as we shift towards an evolving exhibition of artworks.

Because of our current state, we ask that you call and/or email us at 404 408 4248 or info@kailinart.com before visiting to see the show. Masks are strongly encouraged and QR codes are placed throughout the gallery. Scan the code with your camera phone and you will find the list of artworks on our walls.

We are immensely grateful for your patronage and support of our gallery over the years. Kai Lin Art was started in 2008 out of a passion to build community, create connectivity, and celebrate creativity through art. Our gallery exists to house contemplative works of art that inspire, nurture and enrich the soul.

Thank you for your friendship and we look forward to seeing you by the gallery again.

Yu-Kai Lin, Owner + Director
404 408 4248
info@kailinart.com
KAILINART.com

3D VIRTUAL TOUR

P.S. Please be sure to tag us @kailinart on Instagram if you’d like to share photos of your pieces from Kai Lin Art. We’d love to see where art has found a home with our artists and our patrons!

FOR AVAILABILITY & INQUIRIES
404 408 4248 | INFO@KAILINART.COM

FOR AVAILABILITY & INQUIRIES
404 408 4248 | INFO@KAILINART.COM

TO THE FUTURE

Dear Friends,

This week we decided to slowly start to open the gallery for patrons and art collectors. We have extended our exhibition CreateHer through the week of June 17th and would like to invite you by the gallery again by calling to schedule a socially distanced window of time before our show closes.

We are frustrated and saddened by the state of our current world and the racial disparities and tensions from generations of systemic oppression. As a institution built and based in the South, our gallery has strived for inclusion, for diversity, and to reflect contemporary art history. Art will forever and always be by the people, for the people, and it is our hope that art provides a pathway and the catalyst towards healing of our shared experiences.

We encourage you to donate to organizations supporting racial justice, human rights and support small and minority-owned businesses:

Southern Center for Human Rights :: schr.org
National Center for Civil and Human Rights :: civilandhumanrights.org
NAACP Atlanta :: naacpatlanta.org
Lambda Legal :: lambdalegal.org
Equal Justice Initiative :: eji.org

Stay well, stay creative,
Yu-Kai Lin
Owner + Director
info@kailinart.com
404 408 4248