David Kidd: Flowery Branch, Georgia

Artist David Kidd

Please share a little about yourself.

DK: I was born in Atlanta, Georgia. Growing up, my father worked for Texaco and he was transferred often. We moved around, mainly in the southeast, from the time that I was seven. We moved back to the Atlanta area when I was nineteen. It was quite the gypsy lifestyle. Sometimes boxes were never even unpacked. We just left them in a state of readiness for the next move. That was quite a few years ago. I am now married to a wonderful woman that understands and encourages my artistic endeavors. We live just outside of Atlanta. My wife and I still have family here, and consider this area home.

Botanical Image #10
 Acrylic on Panel
 24 x 48
 2011

Did you receive any formal art training? If yes, where and what did you major in?

I attended Memphis College of Art in Memphis, Tennessee. It was a great experience. I was exposed to new ideas and work that I would not totally appreciate until years later. However, before completing the program, my dad was transferred yet again. Over the years, I continued to take college courses, but never earned a degree. Most of what I have learned has been by self exploration, along with trial and error. For me, I think that this path has been a good thing. 





At what point in your life did you become interested in making art and was there a certain point when you decided you were primarily an artist? 

As a child, I was always drawing and making things.  Looking back, I can recognize two events that were pivotal in my development as a serious painter. The first was our move to Charlotte, NC. The move was midway through my junior year of high school and it was more difficult than the other relocations. At that point, I became more introverted and spent considerably more time creating. Painting was becoming my identity. The second 
event that had a major impact on my development as an artist was my dad’s passing in a car accident in 1989. Although, I was grown and living on my own, his untimely death was a memento mori. It forced me to take a hard look at where I was in life. Even though I had always considered myself an artist or painter, I was doing very little to pursue that ambition. My fathers death changed my perspective. I no longer felt as if I had unlimited time to achieve my goals. I was turning 30 around the same time, so there was a lot of self examination going on. I didn’t want to live my life full of regrets and missed opportunities. Shortly thereafter, I started the process of extricating myself from my full time job of 12 years and began my journey as a full time painter. It was not an easy decision to give up my secure lifestyle and pay check to undertake such a risky proposition, but it was time. I remember thinking that this is how it must feel for some birds, the urge to migrate at the approach of  winter. It was quite an irresistible and overwhelming feeling. I feel that I made the right choice. I’m not sure what the outcome would have been, had I decided to play it safe.


What is your media?

My paintings are comprised of acrylic on ¼ inch birch panel supported with 1 x 2 inch clear fir. I prefer the structural integrity of the wooden panels over the give and flex of canvas. The use of wood also allows me the option of gouging and attacking the surface more aggressively. My work involves a lot of layering and often has a pronounced surface texture.

The Pull of Objects
 Acrylic on Panel
 40 x 40
 2011

What is your current work about?

At the moment, I seem to be working on two separate themes. One of these involves the use of texture, line and marks that often resemble calligraphy, or writing of some form. I want the paintings to infer  possible lost meanings, or an archaeological significance. The second body of work is centered around botanical references. For the last year I have been utilizing a series of leaf images that I photographed during the fall. These photographs were rather atmospheric and undefined. Having said that, the photographs are really just the starting point. My goal is to have the paintings find their own direction. My work tends to be process driven, and the final result often has little to do with the initial concept. I think that is one of the reasons that I am attracted to abstract work, the outcome is not decided in advance. I like the fact that I am not completely in control. That seems rather contradictory, since it’s so inherently against my nature to just leave things to chance. As far as actual meaning is concerned, I think that remains fluid as well. I think that at times, assigning meaning or a narrative only serves to limit the work. I have a wide range of interests, from history and archaeology to nature and science. These elements always have a way of influencing the work.

 Two of Kidd's leaf photos that he took for reference:

What is your workspace like?

My studio consists of the ground floor of our home. It is basically unfinished and rather raw with nine foot ceilings and concrete floors. It is usually in a state of chaos with paintings stacked around in various stages of completion. I always keep a number of paintings going at the same time. I’ve entertained the thoughts of fixing my workspace up and making it less Spartan, but it seems that when I have the time, I don’t have the money, and when I have the money, I don’t have the time. To help open up the space and bring in additional natural light, we installed a set of French doors. That’s been a nice addition. Hopefully, we will do more improvements over time, but even with the lack of amenities, there’s something to be said for a workspace in which you can feel free to sling paint and not worry about where it ends up. I’ve also taken over the garage to use as a woodworking shop to construct my panels. That’s been a big help, keeping the painting and construction areas separate.

Density of States
 Acrylic on Panel
 36 x 36
 2011

Are you involved with any arts groups or communities? If yes, what do you gain from that affiliation and what do you contribute to it?

No, it would seem that I’ve become quite the homebody. I’ve discovered that it is one of the potential pitfalls of working at home. I tend to be a loner and a poor team player.



How do you develop a sense of community with other artists? How do you support your art colleagues?

I recently took the plunge and joined Facebook. Through that, I’ve reconnected with a number of artist friends and had the pleasure of meeting new ones. I have enjoyed seeing what others are working on, and sharing common experiences.

Botanical Image #12
 Acrylic on Panel
 24 x 48
 2011

Do you ever get stuck with your work and how do you remedy this?

Sure, constantly. I’m not afraid to paint over something and start all over. I think that one learns to recognize when it is time to throw in the towel. Not all ideas are meant to become reality, and for some ideas, it’s just not time. They just need to stew a little longer.  


Do you have any particular habits that you think support your art practice?
I am always trying to limit distractions. For me, it is difficult to transition from the outside world back to the studio. I try to maintain an environment that allows me to create, and that requires a certain amount of isolation and solitude. I am always thinking of projects, design, colors, textures, line and shapes. At times, it can be difficult to turn off and just enjoy the moment.

Degrees of Interaction
 Acrylic on Panel
 48 x 36
 2011

Do you have other jobs other than making art?
No, not at the moment.


Where would you like to be in 5 years, as far as your art making?

I would like to be more intuitive and spontaneous in the creative process. I tend to over think. I always love it when my brain disconnects and I can turn off my self awareness. I want that to happen more often. I would also like to produce a greater number of finished paintings. 


Do you have any upcoming shows that you would like to mention?

September 2011  Thomas Deans Fine Art,  Atlanta, GA  (404) 814-1811
April 2012            River Gallery, Chattanooga, TN            (423) 265-5033

You can see more of David's work on his website.

Thank-you David!