True to the captivating qualities and philosophy of the Scottish
Colourists, whose work he greatly admires, Robert Kelsey paints with vigour and
feeling to interpret a sense of place through the power of light and colour.
“Light is generally the most important quality,” he says. “For me, the main
interest and challenge of painting lies in capturing the particular
translucency and clarity of light in different parts of the world.” Over the
past decade or so, principally as a result of his twenty successful solo
exhibitions at Thompson’s Gallery, Robert has established an enviable following
and reputation for his sensitive and atmospheric oil paintings, and especially
for his beach subjects.
“I’ve painted beaches and seascapes for more than 30 years,”
he explains. “But gradually they have become more welcoming, warm and sunny
beaches, and so I often paint in tropical and Mediterranean locations as well
as in the UK. “It’s that sort of atmosphere that I am after, preferably with
crystal clear turquoise water and stretches of soft sand. I like quiet, remote
places, such as in the Hebrides and along the west coast of Scotland.”
“One of my most memorable experiences was a visit to Barra a
few years ago, where I have family connections. My father was born on the
island in 1906. I was immediately overcome by the beauty of this gem of the
Outer Hebrides, with the vast flat beach, sparkling emerald water, and huge
sky. I also often visit Cornwall, where the light is quite different, while
other familiar and inspiring locations include Brittany, Sardinia and the
Caribbean.”
The majority of Robert’s paintings are made in the studio and
are developed from reference material collected on location.
“I never paint any subject that I haven’t actually been to
and experienced,” he says. Depending on the subject matter, conditions and
location I might make tonal sketches or perhaps work on colour studies made in
gouache or watercolour. And if I can drive to the location, and be able to
carry extra equipment, I sometimes make small oil paintings on prepared panels
- usually with quick-drying Alkyd paints. Again, I use these as studies for the
more resolved, larger works in the studio.”
“Although success does have its pressures - with the need to
produce consistently high-quality work for gallery shows, for example - I still
thoroughly enjoy painting. I love putting up a large white canvas, mixing some
paint and applying that first big area of colour. Equally, I’m always excited
to find new locations and new ideas. And, of course, one of the greatest
incentives to paint is the knowledge that people can relate to your work and
find it interesting and rewarding to look at.”
Robert studied fine art at Glasgow School of Art, where his
tutors included David Donaldson, Alexander Goudie and James Robertson. He then
pursued a career in teaching art until 1995, when he decided to concentrate
full time on painting.