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Artist Exhibitions:
SOLO Exhibitions
2007 "As Skin: Portals,
Wormholes, and Breaches in the
Levee"
MFA Thesis Exhibit
Hiestand Gallery
Miami University,
Oxford, Ohio
2004 “Kenneth Hall”
BFA Thesis Exhibit
Columbus College of Art and
Design, Columbus, Ohio
“Spatial Energies”
Arts Annex, Grandview,
Ohio
SELECTED GROUP EXHIBITIONS
2007 "Resistance to Vision"
Manifest Creative ...
Further Information
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Artist Galleries:
Coming Soon!
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Artist Reviews:
“Bright Potential Makes for
Exciting Display”, Columbus
Dispatch, August 10, 2003
“Media, Messages Run Gamut at
Yearly Show”, Columbus
Dispatch, August 11, 2002
...
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Collections:
Coming Soon!
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Commissions:
2004 (January-September)
William Smiley, Gahanna, Ohio,
USA. 11-painting assemblage
for residence, which included
scenery from Tuscany, Italy,
abstract imagery, and
references to art history.
The overall scale of the
assemblage is 8 ft x 8 ft.
...
Further Information
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Artist Statement for Kenneth Hall
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The act of painting for me is both playful and subversive. I construct liquid spaces that are subject to ruptures and abrupt shifts in scale. Wormholes or portals are forms that I have “borrowed” from quantum physics based on their nature as passageways between parallel universes. For me they are tears in the fabric of reality or violent intrusions of the heavens into the earthly realm. Yet there is a tinge of irony in my use of wormholes, as they have never been seen.
The wormhole represents a mysterious event; something unstable in the atmosphere. It puts the viewer in a place where they can temporarily suspend reality and enter a world that is more mysterious and dreamlike. Benign objects like flowers, mushrooms, and children’s toys take on a multi-referential quality, alluding to sensuality or more disturbing themes like wartime destruction. Narratives are implied by the relationships between objects and their surrounding spaces, but a clear story becomes difficult to discern. At this point the viewer is dislocated. Ideally, they will sense that the imagery functions as an analog to larger themes like relational conflict, tragedy, and the frailty of human life.
The work reflects my own struggle with living in a world that is apparently concrete, yet at times seems vaporous and fragile. I shudder when I am confronted with the idea of people who strap explosives to their bodies and blow up innocent children. My sense of reality is jolted when tragedy strikes in the lives of my friends or family and my belief in a God who is always near and always loving is again put to the test. Yet these images are not hopeless (nor am I). A sense of floating or rising – coupled with the penetrating quality of light in the imagery – hints at resilience, hope, and even playful joy. I consider painting to be a catalyst for questioning the nature of being human; of having skin.
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