A Treasure Hunt : Kelsey Irvin
An illuminating conversation with one of our talented creative team members.
Kelsey surrounded by a grouping of her work.
What is the first piece of art that you remember making? What inspired you? Goodness. The first piece is hard to recall, but I remember having so many sketchbooks from a young age. I loved drawing what I saw, anything in front of me, in tiny sketchbooks. I drew my left hand when I couldn’t easily find other objects that I hadn’t already drawn. I loved to draw. I think my Dad inspired me when I saw him sketch things for me when I was very young. I thought it was so neat to watch him bring things to life in this natural, simple way. Quite quickly, I fell in love with drawing.
What themes most call to you in your creativity? Unifying people. Oddly, I never thought about it as a theme but for five years in my late teens and early twenties, I kept a sketchbook of illustrations of intricate crowds of people which, from afar, formed many other things. They were drawn in a very small scale. All of these people had their own personality and unique characteristics, however from afar they were viewed as one. I finished that sketchbook in 2004 and have never made another once since. My work took another direction, though in less obvious ways it still revolves around that same core theme.
Some collage techniques for mixed media paintings.
What is your favorite memory and how does it inform what you do? I don’t know that I could pick just one. Many revolve around imaginative outdoor adventures and play. My mom let us turn most of our basement into an intricate, elaborate fort which evolved and lasted my entire childhood. She never made us take it down. My closest friends loved to come over to our house just so we could work on the fort. It was amazing. Another fond memory was having snow days (which canceled school) and hiking through the woods at the end of our street with sleds to get to this huge hill in the clearing to play in the snow until sundown. It was a giant trapezoid with slopes to sled on, but the direct sides (not the sledding slope) went straight down to ground level, at least twenty feet down. After a heavy snowfall the powder would build up along the sides of this miniature mountain. We could run toward the side, which was more like a cliff, and take a huge leap into the powdery snow that would compact and eventually slow us down as we slid down.
One set of my grandparents lived on a farm in Wisconsin and one set lived on a lake in Pennsylvania. Exploring the broken-down barns with my cousins and exploring the peaceful intricacies of the lake are memories that I will cherish forever. I think my work is a constant effort to pay homage to and encourage good imagination as well as contribute towards a recognition of one’s past.
Studio process view.
Is there a project that you have been wanting to embark on or something you have wanted to create, but haven't acquired the resources yet? If so, can you tell us more about it. I have always wanted and intended to one day create a very largescale figurative piece with intricate collage & assemblage, over 20 feet long or more, where the figures in the piece are interacting through time - over the last 100 years. A figurative timeline created by bits of actual history. The collage contents within the piece would date back just as long, possibly to the origin era of each figure (for example: the figure from the 1930’s is created by specific vintage ephemera from that time period). The contents are meant to be a treasure hunt of sorts, allowing the work to become something very different upon closer inspection.
What do you listen to, if anything, while in your studio? What is your favorite time of day to create? Favorite studio snack or ritual? We would love to know more about what your studio process looks like. I love music in the studio. I listen to music most of the time and podcasts every once in awhile. If I had to pick my favorite three musicians they are: Sigur Rós/Jonsi, Nina Simone, and Iron & Wine. Talk about three different genres, but that’s me! I’m all over the place musically and I wouldn’t have it any other way. I have a record player in my studio that I often use and it’s a bit ironic that my vinyl collection is in two parts: those I play and keep intact and those I cut up and use in my work.
My favorite time to paint is in the evening around 7pm onward. This has always sort of been bonus studio time for me, not my daily working hours. So, I find it special, painting in the evening when the world seems quiet and still while I feel especially focused and calm. During this Covid-19 pandemic I’ve had to adjust my studio hours and become more fluid with our three kids at home full-time until school is back in person. So, working in the evening has become crucial right now in order to keep up. Still, I love to work late.
Kelsey at work in her studio.
What brings you the most joy in life? The symbiotic relation of being a full-time mother and artist. It brings me so much joy that I get to do both, though it’s the hardest thing I’ve ever done, especially now. I want our three kids to experience a creative, engaging, and adventurous life. That alone takes a lot of time. And time is the most important element for me in my work process. The ideas are there, the materials are there, the interest is there. Time…that’s the trickiest part right now. I actually believe that if I chose to, I could pause my career as an artist to focus on motherhood and my representing galleries would probably be very patient with me. But, I can’t. Being an artist is so much more than a vocation for me. Creating stabilizes me. It balances my world. If it’s not there, everything is off and our children would notice. They need their mom to be as balanced and fulfilled as possible. With that, I can be a better mom. No regrets. I need both. They get to see me do what I love every day, and they know that they can also make a career out of their passion one day, with a lot of hard work. So, I choose do both. It can be hard… during a pandemic, extremely hard. But, the reality of getting to do both makes me feel like one of the most fortunate people on the planet.
A wonderful example of Kelsey’s work.
What advice can you offer to younger artists? Be patient. Don’t put all of your eggs in one basket. Have a back-up plan – a way to make a living without relying on selling your art so that you can protect your studio time against stress, especially at first. I never planned to “make-it” as an artist. I didn’t think that was even possible. I was going to paint and create no matter what, because I loved it and I couldn’t imagine life without it. It wasn’t about anything beyond the need to create. So, don’t ever make it about the money, make it about the work. The rest can fall into place if you make the right choices and devote enough time. That said, it is important to understand the business of art. Sometimes that involves the type of work that isn’t as exciting to artists. Photographing artwork correctly, creating organized and professional consignment listings, editing your statement, keeping up with your CV, understanding contracts, invoicing, etc. Those things aren’t nearly as fun as painting. But they are part of the job, and they should be done correctly. Additionally, if you’re seeking gallery representation, learn how to correctly approach a gallery. It is a process, with the goal being a loyal and successful relationship which has to be a fit in both directions. Find out how the gallery wants to receive artist submissions. I know it can also be especially valuable to know what not to do. So, for what it’s worth, one the biggest faux pas that artists can make is presenting themselves as a potential artist to a gallery while at the opening of another artist. That is something that may sound obvious, but this happens surprisingly often and although it is usually an innocent gesture, it is one that could quickly turn off a gallery.
Kelsey often creates work in a series in which pieces can stand alone or be shown in a grouping.
Do you recall a time when you tried something completely new in your art? Was it scary, but exhilarating...can you tell us more? Absolutely. Sometimes you know you need to try something or execute something and the possibility of it being a disaster is daunting. But the need to do it is far more important than the fear. I’ve been fortunate to be represented by galleries that back my vision and intention. I’ve had the opportunity to create work for exhibition that was practically a surprise for the gallery that was presenting and hosting the exhibition. As scary as it was to exhibit an entirely new genre or discipline, it is what has allowed my career to pivot and grow. I suppose some of the most important cornerstones of my work have had to do with trying something new and leaning into that desire and discomfort.
What is your daily motto? My Godfather’s motto was always, “Love hard, pray hard, work hard, and then play hard.” I’ve always loved that and try to live by it. He was truly one of my heroes and only recently passed away. I realize now more than ever just how much he lived by that motto. He lived a wonderful life and left an equally wonderful legacy. I can only hope and try to do the same.
Do you have a favorite ghost story or fairy tale? I don’t think it is considered a traditional fairy tale, but I’d have to say the story of Peter Pan. It hits all the right notes for me. I tend to lean towards tales of idyllic childhood adventure and imagination. When you add the component of a human’s ability to fly, I’m smitten.
What are you most excited about for the future (and the present)? I’m excited to allow my work to evolve and grow in ways I’ve always envisioned, to see the Enchanted Forest in the museum come to life, and to work side by side with our kids one day in a collaborative setting. To see them work hard toward creating something that can be enjoyed by so many people for decades to come.