Kenneth FitzGerald
Trypophilia
01. Partial Proof, 202, offset lithography, handmade paper, acrylic paint, 11 x 14 inches, $350.00
02. Museum Peace, 2018, inkjet prints, 10 x 24 inches, $400.00
03. Lazu Land, 2019, offset lithography, oil, paint on canvas, 6 x 6 inches, $150.00
04. Evening Star, 2018, inkjet prints, 8 x 20 inches, $375.00
05. Shiny Beast, 2020, wallpaper, canvas, paint on canvas, 8 x 10 inches, $350.00
06. Beverage Spectrum, 2018, offset lithography, inkjet print, 14 x 20 inches, $450.00
07. Globe Française, 2018, offset lithography, 12 x 20 inches, $400.00
08. Cloud Cover, 2020, handmade paper, ink, glitter, paint on canvas, 9 x 12 inches,$300.00
09. Leo Jack, 2019, offset lithography, 11 x 14 inches, $350.00
10. Leafescher, 2018, inkjet print, offset lithography, 12 x 14 inches, $350.00
11. Victual, 2022, wallpaper, paper, 8 x 8 inches, $200.00
12. Strata, 2019, wallpaper, offset lithography, 12 x 12 inches, $350.00
13. Kimono My Haus, 2019, wallpaper over offset lithography, 16 x 20 inches, $500.00
14. Wall Florist, 2021, wallpaper, ink, acrylic on canvas, 8 x 10 inches, $250.00
15. Ashing Fores, 2019, offset lithography, inkjet print, oil on canvas, 13 x 16 inches, $350.00
16. Crystal, 2019, offset lithography, inkjet print, acrylic paint on canvas, 8 x 10 inches, $300.00
17. Obverse Alpha, 2018, wallpaper, inks, offset lithography, pastels, 14 x 20 inches, $400.00
18. Horses, Horses, 2019, offset lithography acrylic paint on canvas, 14 x 11 inches, $325.00
19. Groton Color, 2018, inkjet print, paint on canvas,11 x 14 inches, $325.00
20. Amy’s Favorite, 2018, wall and printmaking papers, inks, pastels on canvas, 16 x 18 inches, $475.00
21. Stillwood, 2019, offset lithography, inkjet print, 14 x 11 inches, $350.00
22. Cosmic Green, 2019, ink on paper, acrylic on canvas, 16 x 20 inches, $500.00
23. Spiral Swatch, 2018, offset lithography, acrylic on canvas, 14 x 7 inches, $250.00
24. Discover #1, 2018, offset lithography, tape, 12 x 12 inches, $350.00
25. Sandman, 2018, sandpaper, offset lithography, 9 x 11 inches, $275.00
26. Longeur, 2019, offset lithography, 8 x 30 inches, $375.00
27. Klee-mation, 2019, paint on wallpaper, crayon on paper, 8 x 10 inches, $300.00
28. Crayon Calendar, 2019, offset lithography, crayon on paper, 8 x 10 inches, $300.00
29. Grower, 2020, offset lithography, ink, paint, 8 x 10 inches, $300.00
30. Floor Phase, 2018, inkjet prints, 18 x 24 inches, $650.00
31. Grey Z, 2018, inkjet print, offset lithography, 8 x 15 inches, $350.00
32. Japan Z, 2018, offset lithography, 16 x 16 inches, $450.00
33. Moons River, 2019, inks on wallpaper, inkjet prints, 12 x 16 inches, $400.00
34. Under Seize, 2021, offset lithography, 12 x 12 inches, $350.00
35. Lightable, 2018, inkjet prints, 16 x 22 inches, $600.00
36. After a Forever, 2022, serigraph, paint on canvas, 16 x 20 inches, $500.00
Kenneth FitzGerald
Trypophilia
These works directly came about from an offer of some cork borers with the question, “Is there anything you can do with these?” As a maker of things, I’ve always been concerned about generating more stuff when so much visual material is already in circulation. This combined with the idea of finding an artwork as opposed to creating it from zero, which is the essence of collage. Many components of these works are, on their own, uninteresting or aesthetically dubious. Repurposing them demonstrates that context may be the key aspect of making. Though there are some obscure visual plays on materials and punning going on, these works are meant to be pure visual indulgences. My process is purely formal and abstract: to juxtapose colors, patterns, and textures. Decisions are made quickly and as spontaneously as possible. Rather than determine the resulting work, I want to be surprised by it: to be both artist and audience. Any “conceptual” gestures serve solely as process guides for me and can go unacknowledged by viewers. Titles are similarly randomly constructed with occasional clues about sources and references. They wink at anyone seeking deeper meanings. I have given thought at times how my repurposing would be received by the “original” artists. A handy rationalization is that I’ve prolonged and extended their lives—or perhaps even given them a life through my machinations. I confess I have been remiss in giving credit. Even if “anonymized” somewhat through my actions, I’m still using their labor and imagination. Most importantly, if someone sees their art in one of these, I’d be amenable to paying a royalty—if there’s ever any profit to share. In this series’ early days, I limited myself to components that passively presented themselves. The desire for novelty, challenge and frugality has led me to soften that stance. Now I actively frequent second-hand and recycling shops for materials such as cast-off paintings. As I’ve learned, it’s not a unique acquisition strategy. As I waited in the thrift store line one day to purchase an armload of orphaned paintings, another customer assumed my intention was to paint over them—as she stated she did with her scavenged canvases. I suppose my mien is more creator—or vandal—than connoisseur. That I wasn’t totally obliterating somebody’s creative aspirations to satisfy my own gave me a half sense of virtue. Just holey, not wholly.
Kenneth FitzGerald Bio
Kenneth FitzGerald is an educator, artist, designer, writer, and curator that lives and works in Chesapeake, Virginia. Originally from Massachusetts, he exhibited in the area during the late 1980s and early 90s. His artwork is included in public and private collections primarily in New England and New York, and he has artist books in the Franklin Furnace/Museum of Modern Art/Artists Books collection. He is an internationally recognized and published critic on design, with two book collections of his writings, Process Music: songs, stories and studies of graphic culture (Onomatopee Projects, 2022) and Volume: Writings on Graphic Design, Music, Art and Culture (Princeton Architectural Press, 2010). FitzGerald received his MFA in Design and BFA in Ceramics, both from Massachusetts College of Art and Design. Currently, he is the Professor of Design at Old Dominion University in Norfolk, Virginia.