Kurt Kindermann is best known for his distinctive relief sculptures. Abstract in their construction, Kurt intends to bring new life to timeworn content. While revering the techniques of artists from eras past, he questions their gravity in the context of current technological reproduction. Kindermann addresses these issues by utilizing various media, both traditional and contemporary. He employs cutting edge graphic design software in concert with experimental carpentry, print media, and traditional painting. Born in 1979 and raised outside of Philadelphia, Kindermann attended the Pennsylvania Academy of Fine Arts, completing a four year program in painting. In 2006, he relocated to Bedford, Virginia, where he resides with his wife and son.

Artist's Statement

I work instinctively to create humanistic narratives, producing work that reflects the release or change in my life, often inferring their meaning as time goes on. I posit that the relationships and ideas that my work uncovers are not specific only to me – these emotions at their core are universal and representative of the human condition.
I continuously explore new materials and their possible applications in an effort to create my own visual language. A conversation with my audience, using my work as a conduit or vessel, through which the dialogue may occur. Abstracting the process of making art rather than the subject, I strive to challenge myself with each new piece, each new dialogue. Turning the commonplace into sigils of human experience. There is no final, no period at the end of the sentence. Only an ellipsis. My work is visceral and alive and must not sleep.”

New Works by Kurt Kindermann   2011

…the figures existed, they exist no more. The sight of them gave me an initial emotion, little by little their real presence grew indistinct they became a fiction for me, then they disappeared. For me they are no longer two figures but shapes and colours, don’t misunderstand me, shapes and colours, though, that sum up the idea of the two figures and preserve the vibration of their existence.

  Pablo Picasso

No subject in art captures the complexity of human emotions more than that of the unclothed form. Not the meticulously rendered or photographic image that too easily becomes the object of some erotic desire, but the abstracted human body through which the artist focuses on the truth of a particular relationship or idea. Kurt Kindermann masterfully crafts the abstracted human form.

Kindermann’s figures are ungrounded, floating in undocumented space and time. While the works record specific relationships from Kindermann’s life, they also become a storyboard for a more universal memoir. These figures embody narratives of embrace, isolation, longing and repose. Graceful, yet contorted figures raise the question as to whether they chose their positions or were forced by something beyond their control. The gender of these figures seems vague or almost not important for the story or composition. The emotional narrative is familiar enough to find commonality for many a viewer. However, Kindermann’s narrative is not complete. The images, like the pieces of dress patterns that form the background of flawed dancer (Patterned Ladies) series, are yet to be assembled. The choreography of this narrative is fragmented; these figures are still in process of becoming. Kindermann gives us a look into an unfinished life.

Kindermann struggles with the smallness of the rural community in which he lives, works, raises his son and creates his art. He wonders if the boldness of both his subject matter and medium can be seen and appreciated by the local community. It seems to us that the relationships and ideas that Kindermann attempt to capture in his figurative work in not unique to his experience. This memoir can be found in many of our relationships from a diversity of peoples and communities … small or large … rural or suburban.

Patrick Ellis, PhD
Goose Creek Studio