Down on the Corner - Sean Kelly's Public Art
By Holly Sheehy
“I want to create something that will cause people to think in a different way.” – Sean Kelly
I remember when Sean Kelly first revealed his name to me I felt surprised, as the Irish connotations brought forth into my mind the image of jolly Irish lads doing a jig, an image that didn’t quite jive with the unsettling feelings his paintings stir within me. There were actually many things that surprised me about him—his immediate friendliness and hospitality towards me, a stranger walking onto his property inquiring about his art—his complete willingness to discuss his works as I walked about his menagerie of paintings, pointing like a fascinated child—and his immediate agreement, enthusiasm, and lack of expectation for compensation for a sign I asked him to create.
Being a student and therefore a walker by necessity, I’d pass by his house every day on my way to school or work. Each time I’d have an impulse to stop, stare, and consider. His paintings seemed to mimic a deep feeling inside of myself that I’d always wanted to express but never knew how to pinpoint or externally realize. My growing appreciation evolved into anticipation for new works, and eventually I just had to know—what was he trying to say? And most importantly, what gave him the balls to say it?
It was surprising to hear him explain that the first painting was displayed outdoors because it was simply too large to fit inside the house. Eventually the reason became the desire to create a barrier for privacy for him and his roommates from the busy street. Perhaps space and privacy truly are his reasons, but I can think of no better way to attract attention than blatantly going against the norm.
So who is Sean, the man behind the painted doors? He’s been an artist from the start, churning out artwork since he was a wee lad, pursuing his passion in the wake of his own father’s disapproval (who has since become his biggest fan.) As a child he would often wonder to himself why he was drawing instead of socializing with other kids his age—because of this he believes he possesses underdeveloped social skills, but I found him to be quite amicable and articulate. He admits to being influenced by Dali and Picasso but has made the conscious decision to refrain from serious study of art history or works of other artists, as he does not want his own unique flavor, his personal vision, to be influenced in any way. He is a man of many talents, a person who seems to do well at anything he puts effort into. Besides being a visual artist, he is also a composer, guitarist and vocalist for the band Harry Tracy and the False Face Bandits. He enjoys creating amateur films with his friends. And by the way… if you’re planning on drinking with the man, hand him a Pabst.
He’s been asked by many people why he chooses to paint “disturbing” subjects, but he claims to consider them humorous—but trailing the statement by saying, “Sure, you can paint a pretty picture, but underneath, everything is disturbing.” He says he has no particular message he’s trying to convey or that he purposely incorporates symbolism, explaining that each creative vision is “never really conscious and it never ends up where it starts.” He did comment, however, that he feels his paintings as a whole tell a story, and you can’t truly hate one while loving another.
He doesn’t need expensive canvases to incite him—he paints on old, unhinged doors, found pieces of wood and other random objects such as sinks and TVs. He doesn’t require fine paints to express himself—he uses what is given to him and whatever he has on hand, be it acrylic or puffy paint. He knows he’s talented—but only to the point of rational self-realization, not arrogance… at least not yet.
It would be difficult to maintain humility with the growing amount of attention surrounding his works, both from the possibility of head-swelling caused by having a large number of fans and supporters, but also from having to defend his work in response to critics. His house is in such a prime location—at the corner of Mountain St. and Siskiyou Blvd., a spot many Ashlanders pass by every day—people can’t help but notice the bright, mostly primary-colored paintings as they go by. There in the sea of unremarkable, typical houses is something different, something that catches interest and consideration. Themes of contorted bodies, daunting trees and haunting eyes are difficult to merely dismiss. And, when many people notice something, they start talking.
Although he receives ample positive feedback, apparently not everyone is so impressed by the display, as rumors are circulating of a campaign to have his art taken down. It is said that the unhappy instigators are older citizens of the town who aren’t too keen on the “invasion of aesthetics” and would prefer to have Sean’s abode transformed back into… well, a house like any other, a house devoid of color or controversy.
He doesn’t enjoy being misunderstood or misrepresented, resenting being written off or looked down upon by people who seem to judge too quickly and without honest deliberation. Aside from the commentary, Sean is happy about one thing at least—people have been shaken out of their daily routines to talk about, even if it is to complain, about art.
No matter if his expression is enjoyed by all or not, the fact remains that his works are an expression of himself and he possesses the courage to bare it in an environment containing inevitable rejection and criticism. If the public can’t agree on whether or not they should be displayed outside his house, he should and deserves to be recognized as an admirable individual who walks his own path. If he is forced to remove his works from the public eye, he won’t be forgotten and will have been a part of the lives of many people. As an artist, I have been inspired by him to create more and have become more willing to express myself to others, as he has demonstrated the impact that one person’s art can have and how important it is to share what you create. He may not be trying to convey a particular message, but he definitely makes a statement.
But this is not the end, of course, even if this chapter comes to a close. I can’t help but feel like I’m privy to something great, that I’ve chanced upon a strange exotic bloom that is only beginning to blossom. As Sean himself has said, what he has created thus far is only preparation for something bigger to come, although he does not know exactly what. With him being in the midst of his own creations he may never be able to step back and fully appreciate all that he has accomplished, always striving for that perfect vision. But that, my friend, is the mark of a true artist.
“I want to create something that will cause people to think in a different way.” – Sean Kelly
I remember when Sean Kelly first revealed his name to me I felt surprised, as the Irish connotations brought forth into my mind the image of jolly Irish lads doing a jig, an image that didn’t quite jive with the unsettling feelings his paintings stir within me. There were actually many things that surprised me about him—his immediate friendliness and hospitality towards me, a stranger walking onto his property inquiring about his art—his complete willingness to discuss his works as I walked about his menagerie of paintings, pointing like a fascinated child—and his immediate agreement, enthusiasm, and lack of expectation for compensation for a sign I asked him to create.
Being a student and therefore a walker by necessity, I’d pass by his house every day on my way to school or work. Each time I’d have an impulse to stop, stare, and consider. His paintings seemed to mimic a deep feeling inside of myself that I’d always wanted to express but never knew how to pinpoint or externally realize. My growing appreciation evolved into anticipation for new works, and eventually I just had to know—what was he trying to say? And most importantly, what gave him the balls to say it?
It was surprising to hear him explain that the first painting was displayed outdoors because it was simply too large to fit inside the house. Eventually the reason became the desire to create a barrier for privacy for him and his roommates from the busy street. Perhaps space and privacy truly are his reasons, but I can think of no better way to attract attention than blatantly going against the norm.
So who is Sean, the man behind the painted doors? He’s been an artist from the start, churning out artwork since he was a wee lad, pursuing his passion in the wake of his own father’s disapproval (who has since become his biggest fan.) As a child he would often wonder to himself why he was drawing instead of socializing with other kids his age—because of this he believes he possesses underdeveloped social skills, but I found him to be quite amicable and articulate. He admits to being influenced by Dali and Picasso but has made the conscious decision to refrain from serious study of art history or works of other artists, as he does not want his own unique flavor, his personal vision, to be influenced in any way. He is a man of many talents, a person who seems to do well at anything he puts effort into. Besides being a visual artist, he is also a composer, guitarist and vocalist for the band Harry Tracy and the False Face Bandits. He enjoys creating amateur films with his friends. And by the way… if you’re planning on drinking with the man, hand him a Pabst.
He’s been asked by many people why he chooses to paint “disturbing” subjects, but he claims to consider them humorous—but trailing the statement by saying, “Sure, you can paint a pretty picture, but underneath, everything is disturbing.” He says he has no particular message he’s trying to convey or that he purposely incorporates symbolism, explaining that each creative vision is “never really conscious and it never ends up where it starts.” He did comment, however, that he feels his paintings as a whole tell a story, and you can’t truly hate one while loving another.
He doesn’t need expensive canvases to incite him—he paints on old, unhinged doors, found pieces of wood and other random objects such as sinks and TVs. He doesn’t require fine paints to express himself—he uses what is given to him and whatever he has on hand, be it acrylic or puffy paint. He knows he’s talented—but only to the point of rational self-realization, not arrogance… at least not yet.
It would be difficult to maintain humility with the growing amount of attention surrounding his works, both from the possibility of head-swelling caused by having a large number of fans and supporters, but also from having to defend his work in response to critics. His house is in such a prime location—at the corner of Mountain St. and Siskiyou Blvd., a spot many Ashlanders pass by every day—people can’t help but notice the bright, mostly primary-colored paintings as they go by. There in the sea of unremarkable, typical houses is something different, something that catches interest and consideration. Themes of contorted bodies, daunting trees and haunting eyes are difficult to merely dismiss. And, when many people notice something, they start talking.
Although he receives ample positive feedback, apparently not everyone is so impressed by the display, as rumors are circulating of a campaign to have his art taken down. It is said that the unhappy instigators are older citizens of the town who aren’t too keen on the “invasion of aesthetics” and would prefer to have Sean’s abode transformed back into… well, a house like any other, a house devoid of color or controversy.
He doesn’t enjoy being misunderstood or misrepresented, resenting being written off or looked down upon by people who seem to judge too quickly and without honest deliberation. Aside from the commentary, Sean is happy about one thing at least—people have been shaken out of their daily routines to talk about, even if it is to complain, about art.
No matter if his expression is enjoyed by all or not, the fact remains that his works are an expression of himself and he possesses the courage to bare it in an environment containing inevitable rejection and criticism. If the public can’t agree on whether or not they should be displayed outside his house, he should and deserves to be recognized as an admirable individual who walks his own path. If he is forced to remove his works from the public eye, he won’t be forgotten and will have been a part of the lives of many people. As an artist, I have been inspired by him to create more and have become more willing to express myself to others, as he has demonstrated the impact that one person’s art can have and how important it is to share what you create. He may not be trying to convey a particular message, but he definitely makes a statement.
But this is not the end, of course, even if this chapter comes to a close. I can’t help but feel like I’m privy to something great, that I’ve chanced upon a strange exotic bloom that is only beginning to blossom. As Sean himself has said, what he has created thus far is only preparation for something bigger to come, although he does not know exactly what. With him being in the midst of his own creations he may never be able to step back and fully appreciate all that he has accomplished, always striving for that perfect vision. But that, my friend, is the mark of a true artist.