Kevin Fletcher Biography

Kevin Fletcher




Kevin Fletcher was born in Cincinnati, Ohio on May 7, 1956. He received his BFA in printmaking and graphic design from Miami University in Oxford, Ohio in 1978. The following year he attended Northern Illinois University for graduate study in printmaking and art history. In 1981 Fletcher received his MFA in printmaking from Syracuse University. In the early 1980s, he worked for six months at Grafica Uno in Milano, Italy.

Fletcher resides in Santa Rosa, California and recently retired from the Santa Rosa Junior College where he taught drawing, printmaking, watercolor, history of printmaking and western art history courses for thirty years. He has been the Visiting Studio Artist at Pennsylvania School for the Arts, California State Fullerton, Shasta College, Pacific Northwest College of Art, Seattle Printmaking Collective, and San Jose State University.

His work has been featured in numerous solo exhibitions and has been included in extensive group exhibitions. Fletcher was awarded First Prize in Printmaking from the Berkeley Art Center's Annual National Exhibition (2007), a First Award from the Greater Midwest International Prints Exhibition XIV at Central Missouri State University (1999), Monotype Award from the Pacific Prints Annual at the Palo Alto Cultural Center (1992), First Prize in Printmaking from the Berkeley Art Center's Annual National Exhibition (1990), and First Prize from the Fourth National Print Exhibition at the Westwood Center for the Arts in Los Angeles (1981).

Permanent public collections holding Fletcher's work include the Cincinnati Art Museum; City of Portland, Oregon; Cleveland Museum of Art; Jundt Museum at Gonzaga University; Library of Congress; Lowe Art Museum of Syracuse University; Portland Art Museum; University of Rochester; University of Wisconsin at Waukesha; the Royal Museum of Fine Arts in Antwerp and the Centrum Frans Masereel in Kasterlee, Belgium.


"I have [been] making these unique prints since 1985 but worked in a painterly additive manner until 1997 when I came around to working reductively (Black Manner) from a rolled-up solid black ink, with tools at hand. This was at a demonstration in Pennsylvania. It sort of surprised me as discoveries do at times, and I soon began to layer the marks to suggest deeper space. The tools themselves suggested an architectural solution to the image, though I had already been gravitating toward this in painting. The urban over the pastoral. I have taught art history in California and in London so I am acquainted with a good deal of referential touch stones, if you will. I also collect prints but I have no aid to my composing an image when working, so if Piranesi, Caneletto, Goya, or Brangwyn might be suggested, it is only that the drama occurring in my action / reaction, direct making of the image found this a way of solving the pictorial "chess match."  I have little in mind at the outset, turning the Plexiglas as I work in my removal and re-instatement of the ink. I try to keep my vision open (unlocked) and not "wish" an image into being. It often comes obliquely into view.

There are sometimes cinematic references and a kind of eddying back upon my own black and white photos from travel, but this is often a subconscious, vague element in my thought process. It is really essential that I can gradually see the whole image come into view, almost like the darkroom development, so the speed of my mark making remains in cadence and does not resort to petty affectations, related to a specific location or cause. (Certainly the 'play books' of the Abstract Expressionist painters Kline, Hoffman, and de Kooning, are dear to me, too!)  The great advantage to doing monotype is its relative speed compared with other print technologies, so results can build a momentum in a short time. Remaining ink on the matrix may provide a further direction or tangential suggestion. The layering of added and removed areas of ink, made with sundry commonplace tools allows a kind of reading of reality despite the mere theatrics of direct execution. Little is finessed or the image begins to lose its conviction to its guiding cause of a balanced discovery. It is a happy balance between print and drawing methods and those of the painter. If my work appears a little sentimental or nostalgic, it isn't anything but a connection to gradually surfacing memories or hopeful expectations that infuse results."