Ken Kelly, whose imagery includes pattern-like tendrils and compositional repetition, began work at Aurobora with the idea of experimenting with his traditional vocabulary in multiple layers. Kelly initially printed textured backgrounds onto rag paper, then cut stencil forms from frosted mylar sheets. He would then print from these stencils to create primary images on the surface of various backdrops. In many of the prints, the stencil forms are actually collaged onto a developing image, adding a layer of textural information. Occasionally, Kelly would incorporate a color-toned mylar sheet over an initial work, passing the print through the intaglio press to create a waxy-toned surface. The final results are compositions that have an hypnotic effect derived from both the subdued surface quality and the mandala-like repetitiveness of the imagery.
Microsoft Corporation, Redmond, Washington; Portland Art Museum, Portland, Oregon; University of Washington Medical Center, Seattle, Washington; Heller, Ehrman, White & McAuliffe, Seattle, Washington; Hillis, Clark, Martin & Peterson, Seattle, Washington; Seattle Art Museum, Seattle, Washington; University of Arizona Art Museum, Tucson, Arizona; Seattle City Light, Portable Works Collection, Seattle, Washington; Safeco Insurance Collection, Seattle, Washington; Tacoma Art Museum, Tacoma, Washington; Gallatin Cascade, Inc.; RAJA Investments, Boise, Idaho; Princess Cruise Lines, New York, New York; Orange County Museum of Contemporary Art; Henry Art Gallery, Seattle, Washington; Perkins-Coie