Author: kdehart

Hope

by kdehart

Hope

Keeley DeHart

8 x 11 inches watercolor and ink on paper

This was a commission from my French language teacher. The daughter of one of her friends was greatly impacted from the Paris bombing in 2015. She had been filled with depression and fear, and my teacher wanted to give her something to remind herself of the hope and love within the world. This girl had dreams of visiting New York City, so I decided to create the cityscape in front of a saturated morning sky in order to show that the dawn will come. I used paper towels with a pattern on it and lightly placed it on the wet watercolor in order for the paper to absorb some of the moisture in a way that left a pattern in the sky of the scenery.

Mythical

by kdehart

Mythical

Keeley DeHart

5.5 x 8.5 inches ink on paper

This depicts the mystery behind mythical creatures like fairies and pixies. Recently, they have been depicted as kind and whimsical creatures that care for land and largely go unnoticed by people. However, in Irish folklore, fairies and pixies are evil creatures that kidnap whoever steps into their domain or even their traps known as “fairy circles.” Those trapped by the fae are not subject to time and have spent hundreds and even thousands of years within the faeries’ land. I wanted to convey this mystery and juxtaposition between renditions of the same creature by presenting a silhouette easily recognized as a fairy, while hiding the details that hint as to which kind it is.

Let The World Burn

by kdehart

Let the World Burn

Keeley DeHart

22 x 30 inches, watercolor and ink on paper

This project was created using watercolor and ink on paper. I wanted to create a romantic tragedy inspired by classic literature such as Romeo and Juliet. The scene depicts a couple within a crumbling ballroom, fire and and destruction in the background. The couple is dressed appropriately for the event, fit with formal wear. They are seen kissing and holding each other passionately and perhaps with desperation. The colors are bright and vivid, almost clashing with each other in order to depict the intense chaos within the scene. The fire and the characters are both center in order to grab the viewers attention while also emphasizing the passion and chaos of the setting and the relationship between the characters.

Alcohol Free

by kdehart

Alcohol Free

Keeley DeHart

Digital photo

This piece was inspired by the song “Alcohol Free” by Twice. I used my friends and myself as models to recreate the opening pose performed by the original artist. I overlaid the visual of the song and group in the wavy font that simulates intoxication due to its distortion and fluidity. I also made the font pink and yellow gradient to juxtapose the blue background and stand out against it. I increased the saturation and vibrance of the piece in order to make it seem like an idyllic summer day. This piece was edited in sparkpost and photoshop.

bonitaboat

by kdehart

bonitaboat

Title: bonitaboat

This is a commission from my step father to create a logo for my family’s vacation house that they rent out to others throughout the year. He put this logo on cups, flags, and even his boat. The prompt was to put the street address on a blue, nautical logo that also depicts a bonito fish. My family’s nautical decor and the bonita fish inspired this simple, illustrative logo that I created in photoshop.

Artist Bio

by kdehart

Keeley DeHart studied studio art with a focus in drawing, painting, and printmaking at Stony Brook University, where she also minored in art history and digital art. She was born on April 12th, 2000. She grew up as the middle child in New Jersey along with her sister, half brother, and stepsister. Her house was always filled with pets that she loved dearly. Though briefly living in Rye, New York at the age of 13, Keeley moved in with her mom in Somers, New York in 2014, where she is based to this day. Her large family and her separation from them can often be seen within her works. Her love for nature and animals is often the subject of her pieces as she is an environmentalist who yearns to educate her audience on topics that impact the earth and the future of humanity. Dance also greatly influences her work as she has been a performing artist since high school and is currently on 3 dance teams based in New York City- Evermore Dance, Not Shy Dance Crew, and OFFBRND. She loves the dynamics dancing allows her to implement within her own paintings.

Keeley’s favorite medium is graphite as it is easy to use anywhere that inspiration strikes. However, she developed a special technique using acrylic and thinning medium. This technique required mixing very little paint with the thinner in order to create a sheer layer on top of a preexisting painting. Although being shortly mentored by artist Alan Reingold, Keeley DeHart has never received former art education outside of her major, and largely credits her skills to being self-taught and naturally gifted. Keeley DeHart has been a part of the “Spaces of the Mind” student exhibition at the Staller Center in addition to the 2021 Fall Senior Honors project online exhibition (in-person exhibition TBA), and expects to graduate with honors accredited to this esteemed achievement.

Artist Statement

by kdehart

My name is Keeley DeHart, and I am an artist with a focus in drawing, painting, and printmaking. My art has various common themes throughout, such as fantasy concepts, mental and physical illness, and using the body as a form of expression. This is due to my childhood and upbringing as a dancer in addition to being surrounded by fantasy and myths as I matured. I frequently found myself digesting Disney, even running a 10k throughout Walt Disney World. These story book tales often inspire my own artwork as they are easily recognizable due to the prevalence of Disney in Western culture and media. This allows the audience to connect and relate to my work by recognizing themes and characters from their childhood. Even if not portraying the characters themselves, the fictitious and illustrative style is often found within my own work as I often use Rococo designs and 1800s fashion as inspiration for my art. However, I also like to change the style of these garments worn by my subjects in order to allow them more movement and dynamics within my pieces. This brings me to my next theme of using the body. As a dancer and someone who emphasizes physical health, I often use the body as a way of expressing myself and my messages throughout my artwork. I also have been attempting to overcome my own physical limits. I have lumbar spondylosis and SIJ dysfunction, which greatly impacts my ability to create art and dance, both of which I am extremely passionate about. Both consciously and subconsciously, I use the human form as a way of coping with these limitations and my own story in overcoming them. Despite this physical disability, I strive to create captivating art and dances that can inspire or connect with the audience. It is hard to stay positive and mentally and physically fit when dealing with such a prevalent feature of my life, and this depression and seemingly hopelessness is conveyed within my art by depicting injuries, muted and dark color palettes, and mature subject matters. The joy of movement and the nostalgia associated with fairy tales also influence my work through bright colors, dramatic lighting and shading, and so on. Every piece I create and exhibit is also a piece of me, and gives the audience a glimpse into my life and my own vulnerability.

Final Series: FantaSEA

by kdehart

 

https://drive.google.com/drive/u/0/folders/1NE4kURxOSNt1SLgBwKa1KLHXg9P3iLOa

Google Drive Folder with JPEG files

80’s Dreamin’

Keeley DeHart, 2021

This piece is largely inspired by a combination of the whimsical and colorful fairy tales mixed with a nostalgic vibe derived from the 80s aesthetic. This aesthetic is usually marked by low contrast, neon lights, and iridescent motifs. A prime example, as well as an inspiration for my project, is the singer Sunmi’s album and music video entitled; “pporappippam.” The haziness and low contrast between the colors is meant to symbolize what you would see in a dream or a memory. The colors are also commonly used within the beginning scenes of a children’s movie. The light being placed at such a low angle in comparison to the subject is meant to convey the sunrise after waking up from a pleasant dream.

 

Morning Dew

Keeley DeHart, 2021

This piece is closely related to the last, meant to represent the beginning of fairy tales that show positivity and happiness in the future for the protagonist. However, this is also the part of the plot in which the protagonist reflects on themselves and realizes a problem or aspiration for them to change or achieve. This is meant to be represented through the reflective surface and the darker composition, especially when compared to the prior piece.

Flaming Curiosity

Keeley DeHart, 2021

This piece is indicative of the introduction to the antagonist of the story, that typically shows interest and yearning for the protagonist or the protagonist’s life from afar. The cool tones of the image in addition to the dark and warped background indicate the malevolence of the composition and what it represents. As opposed to the previous composition, within this composition, the reflective sphere is meant to represent the devices antagonists use in order to keep up with the protagonists life. This device is meant to represent the same type of devices like the magic mirror from Beauty and the Beast, Ursula’s orb in the Little Mermaid, and the mirror from Snow White. All of these devices are reflective, which is why I decided to use the same object as the last one in a different way.

 

Lucinda, the Good Witch

Keeley DeHart, 2021

This image is representative of the “Fairy Godmother” figure present within many fairy tales and folklore. The sphere was brought forth as an object within this composition once again. This is because of the inspiration derived from “The Wizard of Oz.” The Wizard of Oz has two sister witches, one being the wicked witch of the west, and the other being the good witch of the east. This dynamic has also been present within other stories, such as the white and red queen in Alice in Wonderland. Beyond directly juxtaposing the previous image within the series by presenting the antagonist and helper as related yet opposite in nearly every way, by using the sphere once again I call forth the similarities and differences between the protagonist, antagonist, and aid. The protagonist and aid, also known as the good witch, are in bright, warm lighting and are surrounded by flowers, while the antagonist has cold, harsh lighting and much less discearnable items surrounding it. This points out the clear differences between the “good” and “bad” sides, but the fact that all three are represented by the same type of item calls forth the similarities between them. All character types have their own aspirations despite reaching for them in different ways.

Midnight Transformation

Keeley DeHart, 2021

This piece is representative of the protagonist undergoing a “transformation” or other form of character development through the help of the good witch, who was introduced in the previous shot. The transformation is shown through the glowing shoe and magical dress, which was achieved by utilizing double exposure and different filters for overlay, such as soft light and difference. I warped the overlaid images to the subjects, such as the dress and shoe, and edited them accordingly. This image is representative of the beginning of the climax within a fairy tale, as the protagonist’s aspirations and goals have been momentarily realized, only to be threatened by the antagonist.

Antics of an Antagonist

Keeley DeHart, 2021

This image was intended to be abstract in composition. The dark colors including maroon, neon green, and dark blue indicate a villain. This is because Disney, among other popular franchises, use these color palettes to represent their villains. Some of these villains include Scar from the Lion King, Hades from Hercules, Mother Gothel from Rapunzel, Maleficent from Sleeping Beauty, and so on. The previously mentioned franchises also use this color palette to represent the antagonist as well. The abstract subjects are suggesting the elements, including water, fire, and lightning. This is because antagonists often call upon the elements in the climax of a story to defeat the protagonist. This effect was achieved by using iridescent foil. light gels, a glow stick, a spray bottle, and cling wrap.

Ariel’s Sunrise

Keeley DeHart, 2021

This piece, as suggested by the title, is largely inspired by the final scenes in the Little Mermaid. Her iconic glittering dress reflecting in the sunrise as she steps out of the ocean was the pivotal scene that inspired this work. Additionally, this piece was meant to “mirror” the first piece in the series in order to reflect a happy end and a satisfyingly aesthetic that was presented within the first image and is often presented within the first and final scenes of fairy tales.

Keeley DeHart

by kdehart

 

Ever since I can remember, animals and nature have always been important parts of my life. My family has a deep love for the ocean and marine life, likely stemming from owning boats and beach houses. I can easily recall my grandparents teaching me about how to drive and maintain their sailboat, in addition to my grandfather teaching me about his experiences as a marine biologist living in an underwater lab. Many of my memories involve the ocean, from picking seashells with my parents to snorkeling with sharks. It was fitting that for my 21st birthday I was able to travel to Mexico and spent most of my time water-bound. It was in Mexico where I had the privilege of taking a scuba diving course and fulfilling my requirements for becoming scuba certified in open waters. Throughout the course of becoming scuba certified, it is required to learn about human interactions with nature, and what is and isn’t okay when diving. Scuba diving is a lot like visiting someone’s house; You take only what you brought to begin with, don’t leave trash or forget anything, and it is considerate to clean up trash that is laying around. A common saying among divers is “take memories, leave bubbles” because unfortunately, people believe that nature is theirs to take as keepsake (such as sand dollars and starfish). Even the uninhabited shells found within the sand are to be left alone because they can be used as a home or meal for fish. Imagine my horror when I learned that seemingly innocent actions such as picking uninhabited shells or even wearing sunscreen can cause detriment to the oceanic environment! This was a valuable experience for me considering I grew up with friends and family who enthusiastically picked up shells and other sea life for decoration without a second thought. It amazed me that respecting nature is a requirement for earning a scuba diving license. 

 It was in Mexico and later in Antigua where I was able to dive, and where I met incredibly beautiful life that filled the waters. From the coral reefs to the animals that inhabited them, I saw many diverse creatures. Unfortunately, these beautiful surroundings were not without human influence. On my dives, I found litter and pollution that sullied these beautiful marine environments. Even though I, alongside my family and the dive masters, picked up the litter in order to preserve the coral reefs, I couldn’t help but think of the Great Pacific Garbage Patch and our usage of single-use plastics, fast fashion, and other wasted materials. Both as individuals and as a group, we should strive to create a more environmentally conscious society that considers more than just the human race. We are not the only ones inhabiting the earth, and we should respect those we live alongside and appreciate. After all, we exhibit other creatures for our admiration, and pick them out of their homes to display within our own due to their beauty. We pay no mind to the state of their homes as long as ours is beautiful. It is due to this mindset that we have not only created the Great Pacific Garbage Patch, but have also killed the Great Barrier Reef. Due to global warming caused largely by human influence, over half of the Great Barrier Reef has died. Humans have caused 95-100% of the global warming changes observed since 1950, according to the Intergovernmental Panel on Climate Change’s (IPCC) fifth assessment report. Through our short-term, selfish mindset, we disregard the future of our own as well as the needs of others. It is this mindset, along with the hopes and need for a more eco-friendly future, that created this triptych. 

Title: Simply Being, Date: Dimensions:1920 x 1504 pixels , Medium: Acrylic paint on Canvas 

I wanted to illustrate a marine environment, lush with biodiversity and activity, transforming into a different type of marine setting influenced by the inconsideration of humans. The triptych is designed to be viewed from left to right, simulating a timeline and transition from one state to another. The first of the three, entitled Simply Being (2021), is anything but. This painting depicts a coral reef filled with biodiversity largely influenced by the types of fish and marine life I saw on my dives in Mexico and Antigua. From the firecoral to the hawksbill sea turtles to the eagle rays, I viewed so many creatures in their homes. I wanted to highlight the beauty of their lives without human interference, as they were “simply being” alongside us humans temporarily visiting their home. 

Title: Shift, Date: Dimensions:1920 x 821 pixels , Medium: Acrylic paint on Water Bottles 

The second, transitional piece is entitled Shift (2021). This title has a double entendre, as it represents both a figurative and literal shift in perspective; It shows a shift from marine life without human interaction to a marine environment that shows only human interference, while also forcing the viewer to shift their perspective by physically moving around the painting in order to correctly see all of the painting’s features. The painting depicts a shift from a healthy aquatic environment filled with biodiversity to waters soiled with trash including fishing waste, single use plastics, and clothes. Most of the subjects within the painting can be seen from a direct perspective, however, in order to see everything properly, it is required for the viewer to move around, almost like visually placing puzzle pieces together to make a complete picture. This illusion is achieved through the curved surface I made my canvas out of. Similar to the title of the piece, the materials also have dual meaning. The curvature of the surface along with blue paint is created in order to mimic waves of the ocean while achieving a visual illusionary effect. This is achieved through using plastic bottles cut in half and glued together in an inverted pattern. I wanted to use plastic bottles as they are single-use plastics and are commonly used by everyone, so all viewers of this piece can relate to it, and perhaps feel guilt for their own actions that contribute to this shift. 

Title: Water Waste, Date: Dimensions:1920 x 1504 pixels , Medium: Acrylic paint on Canvas 

The third and final piece of the triptych is entitled, Water Waste (2021). This piece is representative of marine environments if we continue down our path of self-preservation and pollution. Aside from litter, the land and water are barren and dirty. Even though there is plenty within the painting, it also evokes a sense of desolation that is especially noticeable when compared to Simply Being. This is intentional, in order to cause self reflection and a sense of longing for the creatures inhabiting the prior paintings. The litter that is seen throughout the water should be recognizable, from water bottles, to Ugg boots, to ketchup bottles. I wanted to depict things found within the common home in order for us to think twice before throwing things away. 

Due to COVID-19 and my journey to becoming a scuba diver, I have been able to think deeply about marine life and the way my actions and the actions of humankind impact it. I have realized that things I was raised to believe are okay are actually harmful to the environment and other creatures. It is because of the knowledge achieved through my recent experiences scuba diving that I wanted to highlight these harmful behaviors. I want my audience to reflect on their actions that could potentially harm the environment and marine life. While creating a visually appealing triptych, I also strive to have the audience ponder the meaning of my work as well as the necessity of their own waste. It is my hope that as individuals and as a society we can strive to cause less harm to marine life. 

 

 

Shift: Shifted Perspective Version

 

495 Artist Statement

by kdehart

For my 21st birthday, I was able to travel to Mexico where I had the privilege of taking a scuba diving course and fulfilling my requirements for becoming scuba certified in open waters. Throughout the course of becoming scuba certified, it is required to learn about human interactions with nature, and what is and isn’t okay when diving. Scuba diving is a lot like visiting someone’s house; You take only what you brought to begin with, don’t leave trash or forget anything, and it is considerate to clean up trash that is laying around. A common saying among divers is “take memories, leave bubbles” because unfortunately, people believe that nature is theirs to take as keepsake (such as sand dollars and starfish). Even the uninhabited shells found within the sand are to be left alone because they can be used as a home or meal for fish. This was a valuable experience for me considering I grew up with friends and family who enthusiastically picked up shells and other sea life for decoration without a second thought. It amazed me how respecting nature is a requirement for earning a scuba diving license. 

 It was in Mexico and later in Antigua where I was able to dive, and where I met incredibly beautiful life that filled the waters. From the coral reefs to the animals that inhabited them, I saw many diverse creatures. Unfortunately, these beautiful surroundings were not without human influence. On my dives, I found litter and pollution that sullied these beautiful marine environments. Even though I, alongside my family and the dive masters, picked up the litter in order to preserve the coral reefs, I couldn’t help but think of the Great Pacific Garbage Patch and our usage of single-use plastics, fast fashion, and other wasted materials. Both as individuals and as a group, we should strive to create a more environmentally conscious society that considers more than just the human race. We are not the only ones inhabiting the earth, and we should respect those we live alongside and appreciate. After all, we exhibit other creatures for our admiration, and pick them out of their homes to display within our own due to their beauty. We pay no mind to the state of their homes as long as ours is beautiful. It is due to this mindset that we have not only created the Great Pacific Garbage Patch, but have also killed the Great Barrier Reef. Due to global warming caused largely by human influence, over half of the Great Barrier Reef has died. Humans have caused 95-100% of the global warming changes observed since 1950, according to the Intergovernmental Panel on Climate Change’s (IPCC) fifth assessment report. Through our short-term, selfish mindset, we disregard the future of our own as well as the needs of others. It is this mindset, along with the hopes and need for a more eco-friendly future, that created this triptych. 

I wanted to show a marine environment, lush with biodiversity and activity, transforming into a different type of marine setting influenced by the inconsideration of humans. The triptych is designed to be viewed from left to right, simulating a timeline and transition from one state to another. The first of the three, entitled Simply Being (2021), is anything but. This painting depicts a coral reef filled with biodiversity largely influenced by the types of fish and marine life I saw on my dives in Mexico and Antigua. From the firecoral to the hawksbill sea turtles to the eagle rays, I saw so many creatures in their homes. I wanted to highlight the beauty of their lives without human interference, as they were simply being alongside us humans temporarily visiting their home. 

The second, transitional piece is entitled Shift (2021). This title has a double entendre, as it represents both a figurative and literal shift in perspective; It shows a shift from marine life without human interaction to a marine environment that shows only human interference, while also forcing the viewer to shift their perspective by physically moving around the painting in order to correctly see all of the painting’s features. The painting depicts a shift from a healthy aquatic environment filled with biodiversity to waters soiled with trash including fishing waste, single use plastics, and clothes. Most of the subjects within the painting can be seen from a direct perspective, however, in order to see everything properly, it is required for the viewer to move around, almost like visually placing puzzle pieces together to make a complete picture. This illusion is achieved through the curved surface I made my canvas out of. Similar to the title of the piece, the materials also have dual meaning. The curvature of the surface along with blue paint is created in order to mimic waves of the ocean while achieving a visual illusionary effect. This is achieved through using plastic bottles cut in half and glued together in an inverted pattern. I wanted to use plastic bottles as they are single-use plastics and are commonly used by everyone, so all viewers of this piece can relate to the piece, and perhaps feel guilt for their own actions that contribute to this shift. 

The third and final piece of the triptych is entitled, Water Waste (2021). This piece is representative of marine environments if we continue down our path of self-preservation and pollution. Aside from litter, the land and water are barren and dirty. Even though there is plenty within the painting, it also evokes a sense of desolation that is especially noticeable when compared to Simply Being. This is intentional, in order to cause self reflection and a sense of longing for the creatures inhabiting the prior paintings. The litter that is seen throughout the water should be recognizable, from water bottles, to Ugg boots, to ketchup bottles. I wanted to depict things found within the common home in order for us to think twice before throwing things away. 

Due to COVID-19 and my journey to becoming a scuba diver, I have been able to think deeply about marine life and the way my actions and the actions of humankind impact it. While creating a visually appealing triptych, I also strived to have the audience ponder the meaning of my work as well as the necessity of their own waste.

Simply Being (2020)

Keeley DeHart

24×30 acrylic on canvas

Shift (2021)

Keeley DeHart

Mixed Media

Water Waste (2021)

Keeley DeHart

22×28 acrylic on canvas 

 

Shift (2021)- Shifted Perspective Version

https://youtube.com/shorts/rYobFz9kuYI?feature=share