The Art of Brian Kirchoff: Process, Style & Approach

I Like to Paint Over Things

I like to paint over things, leaving a hint of what used to be—much like the old advertisements you see on the sides of brick buildings in the city. There is a feeling of time, age, and wear. The old advertisement sometimes shows through, with faded or peeling paint revealing something from the past.

That idea shows up in my work.

I don't really begin with a blank canvas. I build something, paint over it, uncover parts of it, alter it, and respond to what remains. The painting evolves through that process of covering, revealing, and discovering.

The Process

As of this writing (and my process constantly evolves), I generally begin with a random background of color and/or texture. I add layer upon layer. Some of the background remains, some gets scratched or rubbed away, and some areas are left untouched. After a while, the painting begins to take shape.

At some point, I start responding to what is happening on the canvas rather than simply trying to execute a predetermined idea. That's when things get interesting.

Movement & Tension

Areas of focus become clearer in my mind, and I work to create some sort of visual interest. Lines and marks draw the eye to different parts of the piece, or tie the whole thing together.

Oftentimes there is a strong tension from one half or quadrant of the painting to another—a balance, or lack of balance, of sorts. I'm drawn to this tension without really thinking about it. It simply occurs, and I respond to it.

The Discovery Mode

"What happens if I do this?"

That's probably the question that best describes my process.

I paint and respond to what I see in real time. Many of the techniques I use produce an approximation of what I intended rather than an exact result. I purposely try not to be perfect with anything I'm doing because perfection limits possibilities.

I get a lot of "Oh, that's cool" as I work, and then I play off of it.

This is what keeps me painting—the constant discovery of new ideas and directions that occur with each session. It's exhilarating.

Recognition vs. Abstraction

Abstract for the sake of abstract is a lot of fun, and you see that in much of my work. But there are also natural themes that I gravitate toward, particularly my take on landscape and seascape.

These are loose representations: a horizon, or two or three; an abstract tree, mountain, house, or whatever the viewer decides it is.

I ask a lot of the viewer when it comes to digesting my landscapes. They make of them what they wish. There are no right or wrong interpretations.

Evolution, Not One Fixed Style

While there are obvious similarities from piece to piece, my paintings don't necessarily need to look identical in order to be recognized as one of mine.

The overall look and feel can be quite different from one body of work to another. But I have very specific ways of making lines and marks that I feel are original to my techniques. Those elements allow me to continue moving forward and growing from one seemingly different body of work to another.

The result is a common visual vocabulary that, to me, says Brian Kirchoff.

Where It Started

Never having studied art, I have to admit, I didn't know my work was in the abstract expressionism tradition until someone told me so. I had to look it up.

I'm certain my style was influenced by the work I saw at the St. Louis Art Museum as a child. I was always drawn to the non-traditional pieces in the wing that featured the "newer stuff." I didn't know why I liked them, but I knew I did.

Here we are, over five decades later, and it's still what I'm doing.

Color, marks, scratches, lines, and shapes—trying to come together into some sort of cohesive work.