We’re excited to introduce you to the always interesting and insightful Kevin Arrow. We hope you’ll enjoy our conversation with Kevin below.
Alright, Kevin thanks for taking the time to share your stories and insights with us today. We’d love to hear the backstory behind a risk you’ve taken – whether big or small, walk us through what it was like and how it ultimately turned out.
In 2022 I developed a new method of working that produced immediate results and seemingly infinite possibilities. Using colored paper, scissors and white glue I began folding, cutting and gluing paper during every available opportunity. This resulted in over 300 new works of various sizes and configurations. This work is informed by my lifelong interest in abstraction, nature, sacred geometry and textile production.
In 2023, I expanded my creative exploration by experimenting with different materials like India ink, watercolor, and marbleized paper. I combined traditional techniques with digital methods, using processes like mirroring and reversing to add depth to my work. This led me to venture into textile design, a longtime interest of mine. I developed over 100 textile designs and partnered with a studio in Hangzhou, China, known for their expertise in silk production. For my solo exhibition in March 2024 at [NAME] publications in Miami, I had the chance to create a special piece: a silk scarf inspired by my cut-paper artworks. I started by making a collage with everyday materials like paper, glue, ink, and watercolor. Then, I digitally enhanced and printed the design onto 100% mulberry silk twill fabric, resulting in a vibrant scarf measuring 34.5 x 34.5 inches. Only 50 pieces were made for this limited edition and are available via the following link: https://
My current goal is to deepen my exploration of silk production, drawing inspiration from the pioneering legacy of Robert Dumas, the visionary behind the iconic silk Hermès scarf. I use my hand cut paper works as reference for paintings and initiate strategic collaborations with engravers, colorists, and screen printers. I aspire to chart new territory in silk textile creations, seamlessly marrying tradition with innovation to redefine the boundaries of my artistic production.
Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.
Throughout my career as a visual artist, I have focused on three major themes: the intersection of the sacred and the mundane; personal and institutional archives and their impact on memory; and the history of popular visual and underground culture in the local context of South Florida. Over the past 30 years, my work has included painting, printmaking, and sculpture, incorporating elements of collage, photography, and time-based media. The principles of generosity, eclecticism, and humor have guided me.
My artworks and themes were deeply impacted by two experiences early in my artmaking career. From 1984 to 1988, I worked at the Miami Lighthouse for the Blind. Working with visually impaired individuals inspired my interest in high-contrast colors and patterns and in different forms of consciousness and seeing. In 1992, I traveled to the Dzongsar College of Dialectics, located in the foothills of the Himalayas in Northern India. There, I assisted a group of Bhutanese craftspeople in painting the Buddhist school of higher learning, employing Lha-zo—the practice of traditional Bhutanese wall paintings found throughout the Himalayas.
Over the years, my work has evolved according to two main guiding forces: my spiritual practice and my tendency to explore new methods of working. I developed a more intuitive approach to artmaking, using the principles of meditation and improvisation to explore longer-term, slower approaches to artistic production.
What can society do to ensure an environment that’s helpful to artists and creatives?
I firmly believe that an artwork is completed when it is viewed by others. It is important for me to get my work out in front of as many people as possible. That is why exhibition opportunities, creative and new venues and funding opportunities are vital in maintaining a thriving creative ecosystem. Providing creatives with unique spaces to share their work is great. Although art galleries and museums are important, art in unexpected places is best. I most enjoy discovering art works on billboards, bus stops, airports, building exteriors, clothing and vehicle wraps.
Is there a particular goal or mission driving your creative journey?
I am currently driven by the idea of working within the fashion and design industries. I am focusing on textile design for silk production and large scale glass mosaics for public spaces . I enjoy thinking about taking a small scale work that is created by hand in my studio and transforming it to something large and made in multiples for a great many people to enjoy.
Contact Info:
- Instagram: @drawn_inward
- Facebook: https://www.facebook.com/arrowfuentes
- Linkedin: www.linkedin.com/in/kevin-arrow-34811426
- Youtube: https://youtube.com/@arrowfuentes?si=PPlK1yWMaW7HE5vG
Image Credits
Images courtesy of Kevin Arrow