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Red Room by Tony Kelly at Faena Art Project Room


Last year, Faena invited photographer Tony Kelly to create a new series of works based on the life and style of Faena Miami Beach. The result is a stunning artistic magazine featuring over 40 works by Kelly.

Faena by Tony Kelly
ARTICLE ORIGINALLY PUBLISHED IN FAENA JOURNAL ISSUE #47 • SPRING 2022

RED ROOM | FAENA ART PROJECT ROOM | FEBRAURY 5 - APRIL 2, 2022 

For Red Room—an exhibition being hosted by Faena Art Project Room—Kelly has selected his most vibrant photographs from the series, placing them within a completely red environment that highlights his iconic colors and completely envelops the viewer in the space. The Faena world is one that serenades you, says Kelly. “It’s a visceral and visual massage that seduces the soul.” “Every step of the way feels like a journey unfolding, and the journey is propelled by the winds of art and music and reverie,” comments the Dublin-born, Los Angeles-based artist.

“This place is run by an artist, and you can feel it.”

With characteristic virtuosity, Kelly immortalized Faena’s saturated palate of bold reds, whites, and blues in a series of fine art photographs shot in locations throughout the hotel including the beach, penthouse and pool. From bronze beauties bathing on the beach, contortionists with cocktails, synchronized swimmers and stilettos aloft within a sea of sharks, Kelly dazzles with the divinity of decadence.

A photographic provocateur, his irreverent images pose satirical plays on powerhouse politics and celebrity culture enrobed in a kitschy, hyper-real aesthetic. Lustrous images weave a visual narrative filled with neon pop-surrealism and a touch of paradise—a style that distinguishes much of his thought-provoking portfolio. Like Alan Faena, Kelly is fluent in the vitality of visual language, incorporating resonant artistic energy with a license to twist. In this vein, Red Room is not just an exhibition, it’s an experience that fuses the groundbreaking, incandescent worlds of two ingenious visionaries.

 

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