Cheryl Kelley lives and works in Houston, Texas. She received her B.F.A. from University of Houston. She has exhibited her work widely in numerous solo and group shows. Her work has been reviewed in several noteworthy publications, such as the Village Voice (June 21, 2005) and The New York Sun (May 31, 2005). Kelley was also recently featured in New American Paintings, Issue #66, Western Edition.
1968 Camaro, 1970 Nova, 1965 Corvette - just the mention of these high performance vehicles brings up many childhood memories for Cheryl Kelley. Born at the end of the sixties, she was fortunate to enter the world during the formative years of the American Feminist movement. However, as she grew into a love for these iconic machines, so did her awareness that the muscle car was the last bastion of young male dominance. Yet, these big engine cars, seemingly fueled by raw testosterone, were ironically most definitely feminine in form. Kelley's paintings are about the feminine sensuality of the surfaces, and Mel Ramos-like perfection of female form. There is a subtlety involved in presenting these images from a female perspective - a mystery that is captured through abstraction.
The reflections on the surfaces of the automobiles allow the viewer to see deeper, as if looking into water. The actual surfaces of these gorgeously luminous paintings are as smooth and high-gloss as the cars themselves.