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拍品專文
Within a well-kept lawn, three shells rest atop a small table. How they got to be there, and why, is the fundamental mystery of the painting. Held in the same collection since its creation, Three Shells was painted in 1992, during a period in which Kahn was living in Brighton in a flat overlooking the sea. Despite the precision of the image—the artist has meticulously painted every blade of grass, every calcified ridge—the work proffers a dream world, oracular, surreal, and filled with ‘a sense of anticipation and potential and airs of hope and dread’ (Z. Lescaze, ‘The Circus Has Been Cancelled’, Artforum, August 2020).
Born in Massachusetts, Kahn studied at the University of Pennsylvania before receiving an MFA from Rutgers University. Although he predominately paints landscapes, Kahn is less intent on accurately representing a specific topography than discovering and arresting the emotional qualities of a particular place; Kahn has cited an interest in magical realism as foundational to his practice, and his paintings could easily be placed in dialogue with those of Rene Magritte. Ultimately Kahn’s paintings open more than they assume. Describing the effect of taking in one of the artist’s compositions, critic Evan Pricco has written that ‘in each brush stroke, or every tree limb wandering on the canvas, Kahn gives us some beautiful questions to ponder’ (E. Pricco, ‘Scott Kahn: Afternoon of a Faun @ Harper's Books, NYC’, Juxtapoz, 19 February 2021).
Born in Massachusetts, Kahn studied at the University of Pennsylvania before receiving an MFA from Rutgers University. Although he predominately paints landscapes, Kahn is less intent on accurately representing a specific topography than discovering and arresting the emotional qualities of a particular place; Kahn has cited an interest in magical realism as foundational to his practice, and his paintings could easily be placed in dialogue with those of Rene Magritte. Ultimately Kahn’s paintings open more than they assume. Describing the effect of taking in one of the artist’s compositions, critic Evan Pricco has written that ‘in each brush stroke, or every tree limb wandering on the canvas, Kahn gives us some beautiful questions to ponder’ (E. Pricco, ‘Scott Kahn: Afternoon of a Faun @ Harper's Books, NYC’, Juxtapoz, 19 February 2021).