Glimpses of the and Other Gifts for His Mother
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“Music and art were everywhere,” he says of his boyhood. In addition to cre- ating his own work, he fondly remem- bers helping his father carve jewelry Glimpses of the and other gifts for his mother. Kohn and his parents nurtured his passion for art throughout his child- hood, and at the age of 15, he apprenticed in the studios of several noted Russian Impressionist and realist painters. The Extraordinary young artist was also a distinguished athlete and trained as a marksman on Andre Kohn conjures curiosity and a trajectory toward the Olympics. How- wonder from everyday moments ever, by the time he turned 16, his drive to pursue “the never-ending creative process” won out. Kohn knew beyond any doubt that he wanted to become a By E LizabetH L. D elaney professional artist. Kohn embarked on his higher educa- tion at the University of Moscow, where he earned a coveted spot in the school’s prestigious and highly competitive fine- arts program. However, in his third year of university, Kohn experienced a major geographic and cultural-paradigm shift. Couples walking, a woman read- His father, then a high-ranking member ing, children playing: these are the of the Russian army, was invited to par- moments that exist largely as back- ticipate in the first international post- ground noise in daily life. These are Cold War officer-exchange program, also the scenes that painter Andre Kohn which consisted of a yearlong stint at savors—the slices of life in which he Maxwell Air Force Base in Montgomery, Watching the Herd, oil, 20 x 19. finds spirit and meaning. “I’m seeking AL. In 1992, while Kohn was visiting his Morning on the Beach, oil, 17 x 17. my own unique, poetic interpretation parents in the United States, his father of the moment,” says Kohn of his work. announced their intention to remain in “I’m striving to find the extraordinary the country, thereby setting the family in the ordinary.” on a new course. Kohn wasted no time Kohn himself has led what most embracing his vastly changed life. He would consider an extraordinary life. enrolled in the art program at Auburn urative work, which ultimately would He spent his early years on one side of University at Montgomery after becom- provide him with a broader, more chal- the world, then gave up life as he knew ing the first recipient of the International lenging set of creative possibilities. it to embrace the ideals of a new culture. Peace Scholarship there. He went on His personal and professional achieve- to earn his bachelor of fine arts degree ments embody the American dream, but three years later. kohn’s artistiC influences in- so, too, do they emblemize the desire to After moving to the United States, clude Russian painters Nicolai Fechin, realize one’s voice by finding a passion Kohn held a variety of jobs to make ends Valentin Serov, and Filipp Malyavin, for creativity and seizing it. meet—including house cleaner, pic- as well as John Singer Sargent, Eugène ture framer, and car salesman—all Carrière, and Edgar Degas. He has representation while building his portfolio. He moved been most influenced over the years by Andre Kohn Fine Art, Scottsdale, AZ; Born and raised in southern Rus- to Arizona in 2000, intrigued by the Fechin, whom he describes as a master Heritage Gallery West, Paso Robles, sia near the Caspian Sea, Kohn grew up geography, climate, and ethos of the of his own voice, able to expand on his CA; Westminster Gallery, Harrogate, in a highly creative environment, en- American West, especially its vast classical background to create his own UK; Mary Martin Gallery of Fine Art, couraged by his parents to draw, paint, landscapes, horse and ranch operations, language of interpretation in both sub- Charleston, SC; Jones & Terwilliger and sculpt freely. (He was even allowed and Native American sites. He painted stance and technique. Ultimately, this Galleries, Carmel and Palm Desert, CA; to draw on the wallpaper.) His mother those themes for a while but eventually is what Kohn strives to do in his own Waterhouse Gallery, Santa Barbara, and father both had a background in found that he had taken the subject mat- work: to elevate his visual vocabulary CA; Howard/Mandville Gallery, education and realized the importance ter as far as he could. At that point Kohn and fundamental aesthetic elements, all Kirkland, WA; Joe Wade Fine Arts, of helping a child find his or her voice. fully embraced his current brand of fig- the while infusing his unique viewpoint Santa Fe, NM; Shaw Gallery, Naples, FL. Featured in Visit subscribenow.southwestart.com “It’s all about the process for me. I love the smell of the studio, the feel of the brush in my hand, applying the paint to the canvas.” into each piece of art he makes. as “contemporary figurative expres- Lifelong learning is important to sionism.” Propelled by dynamic, ges- Kohn, who remains eager to observe tural brushwork and lush coloration, and study with other artists even in his compositions harness the energy light of his own professional success. of a singular, often quiet, moment in “It’s important for artists to learn from time. Heady textures and layers of pig- each other,” he says. “If I thought I ment combine to create a tactility that could learn something new, I would pervades each canvas. In fact, one of follow an artist wherever he or she Kohn’s signature structural elements taught.” To that end, he has studied at is his preparation of each surface. He France’s Studio Escalier and has also layers modeling paste onto the blank taken many classes at the Scottsdale canvas before he ever makes a mark, Artists’ School. Kohn loves to travel as thereby creating an intrinsically di- well and frequently finds source ma- mensional composition. Such a process terial for his artwork during his ex- makes the texture part of the painting plorations. Among the various places itself, not simply a visual overlay. he has visited around the world, he Always interested in challenging cites France as his favorite, and he himself artistically, Kohn finds figura- plans to return this summer to garner tion the most stimulating in terms of additional inspiration. style and subject matter. “The human Kohn’s intense desire to learn dove- figure is simultaneously the most sim- tails into his painting process nicely, as ple and complex subject matter to work he continually strives to hone his tech- with,” he says, referring to the “infinite nique. He often learns from the “happy gestures” to be found observing people accidents” that may initially appear as in their natural states. mistakes but eventually allow him to Profoundly inspired by French Im- Leaving Marseille, oil, 19 x 12. Sisters Series #6, oil, 24 x 14. break the rules just enough to push his pressionism, Kohn places much of his creative edge. He believes this part of compositional focus on the many visual the process is not simply beneficial but facets achieved through color interac- crucial, so that an artist can move be- tion and light play. He keeps a tight walking in the rain, a man with a cane achieve anything you want with hard currently represents 10 artists. yond basic craftsmanship and toward rein on his palette, working with no paused on the sidewalk, or a couple work,” he says. “Whatever you do, fall Kohn’s life and career have been more complex, advanced work that more than eight colors at a time. This gliding across the dance floor all evoke in love with it. Make it your own. Learn chronicled in a monograph titled Andre projects a distinctive voice. practice allows the artist to explore the a sense of comfortable intrigue—their as much as possible. That’s how you Kohn: The Endless World of a Moment, which Kohn’s artwork exhibits a high de- complexities of each color, while also stories are ambiguous, yet most view- make a success of it.” And that’s exactly was published in 2012 and is now slated gree of tangibility—the embodiment of maintaining an intimate focus on the ers can relate. Kohn often hides his what Kohn has done. for a second printing. The new editions his physical and intellectual explora- subject. He works in simple narratives subjects’ faces, and when visible, they Today, nine galleries on both coasts will be available in September. E tion of materials. “I’m in love with the that extract extraordinary aspects from remain obscured, allowing the artist to and in the United Kingdom carry idea of having a blank, white canvas,” ordinary life, offering intimate glimpses retain that sense of mystery. He leaves Kohn’s work. He has a robust com - says Kohn, who relishes the endless po- into the journeys we all take. His com- their stories open-ended—full of the mission business as well. He further tential within each unmarked area. “It’s positions have a universal quality, void potential energy he loves and primed expanded his role in the art world Elizabeth L. Delaney is a freelance arts writer and all about the process for me. I love the of a specific time or place and accessible to begin a visual conversation between in 2014 when he opened Andre Kohn publications editor based in Charlotte, NC. smell of the studio, the feel of the brush to a wide range of viewers. “My paint- viewer and painting. Fine Art in Scottsdale. “I had been in my hand, applying the paint to the ings are light,” he remarks.