Ken Kelleher is an American sculptor born in 1968.
He draws inspiration and is informed by the work of David Smith, Mark DiSuvero, Tony Cragg, Richard Deacon, Anthony Caro as well as the New York School. His work builds from a tradition of drawing in space and abstraction that alludes to things that we overlook in our every day world while being completely themselves.
He studied art at Alfred University under sculptors Glenn Zweygardt and William Parry. After college he worked at Hudson Studio, Fine Art Foundry in Niverville, NY where he did finishing work on cast bronze pieces by William Tucker and Anthony Caro, as well as other artists. Hudson Studio was in a shared space at the time with sculptor Jon Isherwood and is in close proximity to Triangle Workshop. The area has a concentration of artists and sculptors starting in the 1950's with David Smith, Kenneth Noland and others setting up residence in driving range of NYC and Bennington College.
Before becoming a Creative Director in Advertising he produced several series of large abstract found object pieces, some of which were sold into private collections.
Now twenty years later, Ken has returned to having a full time studio practice. He lives and works with his wife of 25 years at Rehoboth in NH.
From the artist
'The material, steel. Immediate, solid, rust, the color of blood is primal. Steel feels like it can be worked on quickly, yet resists, pushed back while you refine it. It’s a medium that lends itself to ideas, being assembled quickly, or left on the table to be looked at, arranged, moved around over time before being welded. As an artist I don’t think I have to work only in steel, but I do like its permanence. In time, when I have the resources and time I’ll cast in bronze — having been present at some bronze pours at a small foundry in Hudson NY where we poured pieces for Anthony Caro — I also am attracted to the idea of making shapes and casting. Will I work in wood or on more conceptual pieces? Yes, in fact for my senior show at college I incorporated large pieces of wood that had just been felled during a large ice storm, into large, welded pieces, some of them bolted together. One piece had a giant rudder or fan of wood, another was a tripod with an angry fist of wood raised to the sky. '