Zachary Keeting, ‘she laughs as if laughing is the joke’, 2015, FRED.GIAMPIETRO Gallery

View Zachary Keeting Video https://vimeo.com/128986224
Zachary Keeting’s works swirl and clatter. They’re down in the orchestra pit under the timpani, and watching quietly from the back of a cafe. Multiple moving parts vie for prominence, some garish some tender. He punches, scrapes, shakes, blots, pours, and stains. The surfaces are physical, riddled with overt gesture, yet built slowly. They’re improvisational, yet each image refers to a specific life-situations, to specific people. His is striving for an art of realistic complication, of crosscurrents and contradictions, group energy. He admires chaotic Robert Altman scenarios: overlapping voices, overlapping thoughts, overlapping desires. This is an art of more. More complexity, more concealment, more fluidity, more radical balance. Multiple personalities in every scene, brave with generosity. Zachary received his MFA from Boston University and his BFA from Alfred University, graduating Summa Cum Laude.

Publications & Press
2016 The Conversation Project (May 21) interviewed by Brett Wallace
2015 Gorky’s Granddaughter (May 27) interviewed by Catherine Haggarty and Ellen Siebers
2013 Two Coats of Paint (September 25) review by Sharon Butler
2013 Art In America (December) review by Julian Kreimer
Painters’ Table (September 10) in conversation with Brett Baker
KCLOG (September 23)
2011 Two Coats of Paint (May 5) review by Sharon Butler
2010 Time Out Boston (November 9) review by David Wildman
New Haven Independent (July 16) review by Stephen Kobasa
2009 Rojo Magazine
2008 Studio Visit Magazine

About Zachary Keeting

Through abstract paintings that burst forth from the canvas in an exquisitely composed cacophony of color and form, Zachary Keeting grapples with the complexity of the world. As he describes: “I see the world as an incredibly complex place, a baffling / gorgeous / brutal environment. Over the years, I've increasingly attempted to emulate that richness in the pictures, to participate in it.” References to such movements as Op Art, Geometric and Gestural Abstraction, Color Field Painting, and Pop Art inflect his compositions, shaped by an intensely physical process in which he builds up and breaks down the marks on his canvas. Keeting’s earlier works followed what he calls “jigsaw logic,” with hard-edged shapes structured into loosely rigid patterns. His recent work is looser and lush, filled with fat, gestural brushstrokes, stains, smears, and drips, unfolding across the picture plane.