Lee Kendall is 33 years old and hails from Liverpool, England. He holds a Ph.D in History of Art (Liverpool John Moore"s University, 2006) and is currently working out his frustrations through work such as this. Aside from NCH his most recent exhibitions have included a contribution for this years "Digitalshow" exhibition, "Futuresonic 2008" Manchester, England, and "My Voice" at RappCity Art Gallery, Colorado, USA.
The work in our personal portfolios is always presented 'as shot', allowing the images to flow and connect to each other with ease and sophistication. Rather than appearing precious and overly concerned with aesthetics, they more evidently describe a life and eye made behind the camera by way of representation.
It is important to note that every environmental scene entered, spontaneous or intended is always left undisturbed, thus establishing a predominant focal point for the work.
With many of our images, subjects appear floating in a black space that neither interferes nor disrupts the subject matter. In fact the collaboration within this void offers a serene and dreamlike sensation with images broken into positive and negative spaces. Life, pleasure, pain, birth, flesh and death are ever present.
The emphasis is on seeing beyond the limitations of an individual perspective, a way of mapping the extent of the greater forces, invisible from a single human standpoint. Images that do suggest cultural and social issues do so in a way that is not forceful or aggressive, but more open to you, the viewers for interpretation.~
March 2006 - The Colour Candy, a solo exhibition of large format prints. New York.
August 2004 - Tokyo By Night, a solo exhibition of large format prints. London.
August 2003 - No Logo, a solo exhibition from nineteen studio sittings from strangers pulled in from the street. New York.
Early on, I learned about clay and making pottery. I loved the feeling of clay between my fingers as I worked on the potter's wheel, pulling form from a lump of earth. At college I managed the pottery studio for three years, while studying printmaking and drawing.
After 22 years of professional life, I have felt the old love reinstating itself. The clay has some kind of grip on my heart. As a painter, I find that paint resembles clay in many respects and I have learned to love the work of pulling form from the colored mud.
I paint what I see, the people and things that draw my eye. The more I look, the more there is to observe. The world opens up and flowers; the mud takes form. My painting, like the world I see, is unfolding, in motion and disconcertingly unwilling to be tacked to a specimen tray. The butterflies' wings sweep the light.
For me painting is about seeing and the process of coming to know the world in a deep way. Yet the world is never finished and the joy of seeing it is never complete and so my painting points to the fleeting, the almost, the slanted, the glimpsed& to the life that is always present and so difficult to touch.
In my work I am interested in examining the psychological and how it manifests itself visually. I find myself photographing my life a lot, cataloguing moments to legitimize my responses to certain situations.
A lot of my work is self portraiture that documents both the physical and emotional effects of absence. I am working to photograph the figurative distance of forty-three miles and the struggles and conflicts that arise from the physical distance.
I am a 21-year-old photography student in my junior year of studies at the Art Institute of Boston. I currently live and work in Brookline, MA.