"Human beings are a mystery that I’m always trying to solve."

Artist John Kelly paints intimate portraits that honor classical techniques and capture the individuality of his subjects. As a child living in Paris, frequent visits to the Jeu de Paume sparked his passion for art, and later, the Balthus Show at the Metropolitan Museum of Art forever changed his approach to painting. John works from a cluttered but lively studio in Paris’s 15th arrondissement, where friends and fellow artists often stop by. When he’s not painting, John spends his time traveling, writing, and working as a graphic designer.

We spoke with John to uncover the inspirations and personal experiences that shape his art.

What’s your home life like?

I live in Paris with my wife, Colleen, who is a therapist. I have two daughters who grew up here but are now studying in the United States, in New York. My elder daughter is studying creative writing and my younger is an art student at FIT.

What are you most proud of—whether in art or another part of your life?

I’m proud of my children. It’s the thing I’ve tried the hardest to get right. As for my art, acquiring the skills to create the type of work I do, which took years of looking, drawing, and an enormous amount of work, is something I’m proud of. But I loved that work desperately. At the lowest parts of my life, it saved me, so maybe it wasn’t work after all. Maybe it was love.

Do you have any rituals that help you get into a creative flow?

Sometimes I look at the water. Here, there’s the river Seine. When I was growing up on Long Island, it was the bay. It was the ocean in L.A., and the East River in New York.

How do you structure your day?

I wake up fairly early, and then I go to the local café for a croissant and coffee, talk to friends, or read for a while. Then I go home and start working. If I feel like I’m too close to a piece of work, I’ll stop and go outside, walk up to the Seine, and get some more coffee. After a couple of hours, I usually work until I’m ready to sleep.

Where do you find inspiration for your art?

One great thing about living in Paris is the museums, but that’s only part of it. Most of the inspiration for my paintings is the people I’m painting, trying to see them, what makes them human, and the quiet that surrounds each person. If I can find that space, then I’m successful.

Tell us about your evolution as an artist.

I have always drawn since childhood. I became so enamored with the way paint goes on canvas that I went in the direction of abstract expressionism, first with acrylic, then industrial and house paint. I felt like paint had an inherent power to create, almost without my input. I was in New York then, so I had access to Jackson Pollock, Franz Kline, and Willem de Kooning's paintings. Seeing them in art books at that time and now on the internet is not the same experience. Gradually, figures appeared in my paintings, at first in a very expressionist way. Then it wasn't enough to have them just appear. I needed to take a more architectural approach to my paintings and began studying 19th-century French post-expressionist paintings like Pierre Bonnard. Eventually, I needed to put more depth into my work, so I learned the techniques of Vermeer and 17th-century Dutch painters, but I still wanted to preserve a more painterly alla prima technique. I've come to believe that the central question of art is the figure in space, how it fits, how it bleeds into space, and how light changes everything.

How do you decide when an artwork is finished?

It’s different for each piece. Sometimes, I need to put a piece aside for a month, six months, or a year to finish it. Sometimes, it takes a week or even a few days. Being finished reveals itself at some point. I like to think I can tell.

What is the most interesting observation someone has made about your work?

Recently, another artist commented on my work, saying, "You can do what you want." I wasn't sure what she meant. I speak French, but it isn't my first language, and a friend explained that she meant that my work was wide open, with no limits.

Is there an artwork from another artist that has had a significant impact on you? Why?

Jackson Pollock, Autumn Rhythm, for his revealing energy made visible – the sheer matter that makes up everything.

What’s your favorite museum?

The Musee d’Orsay. My favorite part of it was the section on French academic painting from the 19th century. I go there to study anatomy and tone, but I do love getting lost in the Louvre. It’s like time stops when I’m there.

Is there anything else you’d like to share to help viewers better understand your work?

I use light, color, and tone in order to try and find what is in the character of the model. Human beings are a mystery that I’m always trying to solve.