Painting seriously since 1957, Alex McKibbin has exhibited in over 200 exhibitions locally, nationally and internationally. Two of these have been extensive museum exhibitions, along with over 80 national and regional juried exhibitions. His works can be found in 27 public collections and over 60 corporate collections. Additionally, the work has been reproduced in 40 books and magazines as well as CD covers. Alex’s bio appears in Who’s Who in the World.
McKibbin has taught Art History, painting and drawing at the collegiate level for three decades, in the United States as well as Greece and Mexico. He presently has established a studio in Villa Rica, Georgia, and his work has been handled by over 20 galleries throughout his career. Zaks Gallery, Chicago, represented him for a decade at the Chicago International Art Expo at the Navy Pier.
Alex earned his BFA from the Tyler School of Art at Temple University in Philadelphia and MFA from Claremont, California. He retired from his teaching career in 1992.
OF THE CONFIGURAL SERIES, ALEX MCKIBBIN WRITES:
Not by the aesthetic hobo right ready to ride the rods of any passing freight that might promise to take me to the end of some trendy lucrative, “creative,” rainbow and once having been profoundly influenced by the Abstract Expressionists, I have remained committed to their percepts. Even within this mode of expression, an overview of my work should suggest that I am also temperamentally a landscape painter, including my work with the human figure.
During my many flights between the U.S. and Mexico, I’ve always experienced a fascination with the activity of the terrain below. These aerial vistas afforded insight into the energies present in the landscape below. I enjoyed the rapid movement of peak hour, cross town traffic traversing the grids of our cities, the clover leafing along our expressways as against the more leisurely meandering treks out into our heartland. Even experiencing the encroachment, the juxtaposition of the urban on the rural made for intriguing configurations that probably engendered the point-counter point of my metaphorical abstraction of landscape in this series. Playing geometric elements against organic ones like mimicking the juxtapositions of the two landscapes has perhaps for me musical implications as well.
I’ve been struck by critics contending that there are melodic passages perceptible throughout the series, that looking involves the tracing of these “melodies.” A flow is created, instigated by a domino-like movement which then inevitably met with diversions or impediments only to be eventually resolved. Instead of citing centers of interest they see the Configurals as advocating a sense of buildup, climax, and finally release. Devising strategies for evoking the workings of music, as well as that of our landscape is at the center of what I intend across the Configural Series.