Kevin Melchionne

Lives and works in New Rochelle, New York

ARTIST BIO

Kevin Melchionne (b.1964) grew up in Stamford, Connecticut.  He earned a B.A. from Hunter College of the City University of New York, focusing on Hunter’s philosophy department, which boasted a group of scholars in continental philosophy.  Melchionne’s studies were broad and rich, studied Heidegger, Kant, Wittgenstein, Freud, and the French post-structuralists.  He traveled to Italy and spent years in Paris, attending the lectures of Jacques Derrida, Jean-François Lyotard, and Gilles Deleuze and reading many modern French literature, including Maurice Blanchot and Edmond Jabès. Returning from Paris, he entered the graduate program in philosophy at the State University of New York at Stony Brook, where the heat of continental philosophy slowly gave way to the light of the Anglo-American tradition and ultimately earned a Ph.D.  He wrote a dissertation on aesthetics entitled “Cultivation: Art and Aesthetics in Everyday Life.” 

Melchionne has been painting for over forty years, depicting couples and families in rooms with their pets and art.  The couple, though not always in sync, share a palpable bond.  They turn towards each other in a bid for acknowledgment or are suspended in uncertain tension.  These scenes unfold against lush backgrounds of intricately rendered wallpaper, evocative of 17th-century Dutch painting.  Modern but not modernist, these interiors also function as a polemic to the long exile of the great decorating traditions from contemporary art discourse.  Melchionne paints a novel emotional space that his characters inhabit, familiar and enigmatic.

Melchionne’s distinctive intellectual itinerary holds implications for his artistic sensibility.  He eschews what gets called “theory” in the art world.  He paints characters in situations with literary, art, historical, and political allusions.  Although his paintings may reach for the elusive or ambiguous, they do so without the portentous trappings of contemporary artistic discourse.  They are simple in expression yet complex in what is offered. Melchionne suspects that something affirmative is slowly nurtured in us when we allow this approach.  A warmth and gratefulness for other traditions and artists, past and present, grows in us.  Modest acts of reculturation —small recoveries of these artists and traditions—help us to see them as friendly, not oppressive.  This practice, Kevin Melchionne hopes, points us toward a broader cultural reconstruction.

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