An Interrogation of the Self : Paintings & Poems by Henry Kunkel
My next interview is with Henry Kunkel, a painter and poet living and working in Paonia, Colorado. I first met Henry back in 2007 when we both attended the pre-college program at the School of Visual Arts in Manhattan. Henry draws inspiration for his dream-like paintings from his own writing - each artwork paired with a beautifully crafted poem that provides the viewer with an insight into Henry’s creative process. His recent painting series, “This Tree’s Splinters,” and “With As Much Feeling As a Log” serves as an exploration of the self; drawing up memory, emotion, and experience to create a collection of personal narratives that Henry describes as somewhat of a self-interrogration. In this interview, Henry discusses his journey as an artist - from finger painting as a child in Boston - to overcoming adversity as a young adult in New York City, and now serving as a leader in fostering artist made communities.
Hi Henry! Tell me about your background and where your creative journey began.
First, Thanks for reaching out to interview me. It’s a cool project that you’re working on. I grew up outside Boston, MA and have been painting for as long as I can remember. Finger painting and going to museums with my dad was a big part of childhood. I knew it’s what I wanted to do from as early as 7 years old. It’s funny after all this time I still start my paintings the same way; with a finger-painted underpainting.
How have your paintings shifted and evolved over time?
Well, I’d say my handling of color had been the largest shift. I was afraid of color as a kid and mainly worked monochromatically and in earth tones because I’m colorblind and used to think of it as an impediment. Once I embraced color theory and spent time experimenting and playing; I really fell in love with color and now I would say color is the most important part of my practice. Everything is informed by its own unique poetics and feeling is really carried and expressed in the language of color.
How did your experience at the School of Visual Arts shape your work?
Honestly, through adversity. It was less the program that shaped me as being a young person trying to survive in New York City. It chewed me up and spat me out. Leaving room for some really vulnerable exploration and questioning of self that changed my disposition as well as the thought process behind my work. One of the most poignant moments during that era was living in the subway in December during finals my sophomore year. If it wasn’t for a really kind homeless veteran who took me in I don’t know what would have happened to me. Also, trying to make work and go to school while homeless was really difficult. I quit school for a bit after that and moved to Boston where I finished my degree at Massachusetts College of Art & Design.
Your recent painting series, "This Tree's Splinters," is composed of vivid, dream-like, and almost otherworldly subject matter. Can you talk about the narratives you create in these paintings, and what themes you're exploring?
“This Trees Splinters” is a chronological dissection of the self, meant to try to grapple with the intangible nature of disposition. The works are autobiographical and are intended as a sort of self-interrogation into a collage of memories, Feelings, and beliefs, stringing symbol, color, narrative and movement into a quilt. This motley patchwork is an attempt to grasp the ethereal nature of emotions on a personal level to better understand my place in the world as well as ask the viewer to question their dispositions; both conscious and subconscious.
That is my artist statement, and it has a similar line of questioning as my other body of paintings, Titled “With As Much Feeling as A Log”. The thing that separates the two bodies, is an experiment in practice. The difference between them is an exchange between the mediums of poetry and painting allowing them to grow each other. I have found it to be an interesting rule to employ with some works. I write a bit then paint based off what came up from the writing and visa versa. It allows both my paintings and poems to take on unexpected shapes as well as creates a new lens for the viewer to engage both. Both series are ongoing.
Which artists have influenced your work?
Some of the more canonized ones: Max Ernst, Gerhard Richter, Phillip Guston, Marlene Dumas, Alberto Giacometti, Cecily Brown Mostly I think I am influenced by my peers and friends, who are finding their footing in the art world in diverse and creative ways.
When did you join Instagram, and how has it impacted you as an artist?
I joined Instagram in 2014 and it’s had waves of impact in varying degrees. I’ve sold work and been asked to participate in shows and interviews. I’ve been accepted to a residency that only asked for my Instagram. I’ve had meaningful dialogue with other artists and found some amazing people through the platform as well as postings for calls for art and shows.
Where do you hope to see your work in the next five years?
This isn’t a simple question… My practice in the last two years has undergone some considerable changes. Painting is still a major part of it but after five years of sporadic residency hopping and now being the program manager of Elsewhere Studios Artist Residency, My energy is drawn to helping foster artist made communities. Another change to my practice in the last few years has been working on a collaborative project with a sound artist. We write and draw graphic scores and perform sound and visual pieces in diverse and unconventional ways. So to answer your question I feel like I’m on a good track. A lot of my passions are coming together in ways that allow me to I hope in five years I have discovered a better balance between all of my passions and everything is given the time it deserves but ultimately I’m happy where I am and I’m excited to keep furthering my quality of work and quality of self.
Follow Henry on Instagram at: instagrandma_instagrandpa
Website: www.henrykunkel.com