A Hundred Collages

Ken Kewley


A Hundred Collages
Ken Kewley
Abstraction and the Landscape – Without the Landscape

This three-day workshop is a guided exploration of abstraction and the abstraction in the landscape through collage. We will paint our own paper, both solids and patterns. We will cut and place these color shapes on the page the same way that we look for a motif by moving through the landscape. It is the abstraction, the shapes, that we must adjust if we are working purely abstractly or if we are working from life.

On day one, with our painted papers, we will make quick abstract collages, several to a page. With the use of a scanner/printer we will rework directly on prints of our collages, each time in a new direction. This saves us from always starting with a blank sheet and enables us to reach further.

During the next two days, additional collages will be transformed into landscapes, without losing the abstraction. These invented landscapes also will be scanned and printed out, and reworked, each time transforming them, far beyond where we might have stopped, all on a path away from copying and rendering towards a more exciting and ultimately more real picture of what we find beautiful in the world around us, no matter, if we go outdoors, or stay in, collage or paint.

Ken Kewley

Ken Kewley

“I tend to like paintings where the abstraction is strong. By this I mean that the paint, the colors and shapes, are distinct, like strong actors in a play. Going towards abstraction does not mean going away from representation, from realism. It is more like describing something real by other means than illustration. It is like describing an apple with your hands, forming the shape in the air with your hands, by enclosing an imaginary object with two hands. You do not try to make your hand look like an apple. Paint takes over the role of the hands and does not hide the fact that it is paint. Painting is talking with the hands made permanent.”

Ken Kewley graduated from the College of Creative Studies at the University of California, Santa Barbara. He was a night watchman at the Metropolitan Museum of Art 1980-1990. In New York his work has been exhibited at Lori Bookstein Fine Art and Pavel Zoubok. He teaches workshops and lectures at the Pennsylvania Academy of Fine Arts. In addition he has given his workshops in art schools, universities and museums both in the United States and Europe. His work has been reviewed in the New York Times, New York Sun, ARTnews, and the New York Observer and included in many private and public collections. The artist and his workshops were featured in the December 2017 issue of Artist’s Magazine.
Website: www.kenkewley.com


Acrylic Paint – Heavy Body: white, yellow, orange, red, green, blue, purple, black.

Really, as simple as that. Must be acrylic for quick drying. Heavy body as they dry quicker because they have less water.


White glue.  Elmer’s or another white glue is fine.

Cotton rags


These Materials will be provided:
Drawing kit (small pad, templates, ballpoint pen)
Paper for painting and collage
Paint brush (to be used and returned)
1/4 inch chipboard to be used as a painting board (11×14 inches)
Palette (another piece of 11×14 inch chipboard)
Two plastic 16 oz. containers (reused food tubs) for water
Scanner/Printer for classroom use

Ken Kewley is a painter who reveals a serious and profoundly comprehensive engagement with the art and act of picture making. His work is possessed of a most astonishing quality: a primal joy, a continuing infatuation perhaps, with the very purpose of being the painter, of looking at art and making pictures. - Israel Hershberg Founder & Director at JSS in Civita, Jerusalem Studio School in Civita