Kevin Kelly is a Brooklyn-based sculptor whose work explores the relationship between geometry, the human figure, and the expressive power of color. His recent sculptures are defined by tall, flowing forms that recall the proportions of the female torso while remaining fully abstract. Many of the sculptures are unified by an iconic Klein blue monochrome surface. By reducing the work to a single color, he shifts attention away from material and toward the structure of the form itself. As he explains, “Color is just so powerful and emotional. I find it resonates more with me than the subtle beauty of raw materials.” While many sculptors emphasize the raw qualities of materials such as wood, stone, or metal, he takes a different approach. The works are intentionally finished with paint so that color becomes the dominant visual element, allowing the contours and balance of the form to emerge through light and shadow as viewers move around the sculpture. The sculptures typically begin as drawings. Extensive sketchbooks filled with ideas are revisited and developed over time, refining forms until they reach a sense of clarity and balance. From these sketches, structures are fabricated using a range of contemporary processes including metal fabrication, cast resin, and digital techniques such as 3D printing. Sculpture, for him, is also a discipline that requires patience, time, and sustained dedication. He describes the work as an ongoing search for forms that feel inevitable. Even as the sculptures evolve across different materials and scales, they aim to achieve a sense of calm balance and formal resolution. At the same time, the work seeks to communicate broadly, engaging both everyday viewers and experienced art audiences alike. Recent paintings extend many of the same ideas explored in the sculptures. Built from intersecting planes of color and simplified geometric structures, these works create spatial environments that shift between flatness and depth. Angular forms suggest architectural spaces or landscapes while remaining intentionally ambiguous. The images move visually between a two-dimensional surface and implied three-dimensional space, so viewers may perceive depth first and then flatness, or move back and forth between the two. Kevin Kelly was born in upstate New York and graduated from Pratt Institute in 1982. He has lived and worked in DUMBO, Brooklyn since 2007. Public works include Solar Powered Cell Phone Charger (Brooklyn Bridge Park, 2012), DodecaCaryatid (Markham, Ontario, 2015), and Double Down (2018). His work is held in the collection of NYU Medical Center and has appeared in film and television.