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Patrick Finney

Patrick Finney is the son of Kathleen (II) Kent Finney - the Kents' second child and eldest daughter - and Peter Finney. For as long as Pat can remember, he drew. Though he studied at the School of Visual Arts in New York, his primary mentor was Life. After a stint in the Navy he "bummed around" working as a musician, among other jobs. He returned to drawing in the 1980s, pursuing his love of "sequential" art or "three dimensional suggestive realism," as it is often referred to today.

In addition to self publishing his own written and illustrated sequential art (Throb Comix), he has also appeared in Fantagraphics, Last Gasp, and Weirdo comics. Like the work of his predecessors, Robert Crumb, S. Clay Wilson and others, Pat's use of sexually graphic situations may be left to the viewer's imagination, as he purports, however, they do convey the ever-increasing divide we, as a society, experience, in the face of our evolving "norms." His black political commentary reflects his belief that "all elected officials are...ethically and morally compromised, "that they have been "bought and sold to the highest bidder," forgetting who they were elected to serve.

Pat's work is a contemporary version of his grandfather's - a.k.a. Hogarth, Jr. - satirical commentaries which appeared in Life and Vanity Fair and the harder edged sociopolitical statements that were published in The New York Evening Call and The New Masses.

Like most of his fellow Kent grandchildren, Pat grew up in the Northeast. He is single and has a daughter, Willow. Pat currently resides in Oregon.

Click Thumbnail for Larger Image
View Larger Image 11. The Industrial Zone. 1996. Throb Comix, cover. Ink and watercolor. Image: 15 x 10 in.
View Larger Image 12. Ken Starr Addresses the Press. 1998. Throb Comix. Splash and dialog pages. Images: 15 x 10 in.
View Larger Image 14. Newt's Little Indiscretion. 1995. Throb Comix. Two introductory pages, one splash page and two dialog pages. Brush, pen and ink on paper. Images: 15 x10 in.


By juxtaposing these works by Patrick Finney and Molly Carter, the viewer, is encouraged to consider such topics as vanity, sexuality, societal norms, and gender roles. Molly uses stereotypical gender-based symbols-men's formal wear., women's gowns-to illustrate the pitfalls of "culturally defined ideals of beauty." Patrick uses graphic sex, or Comix, to open our perception of broad ranging issues including-self and social awareness and our destiny.

Their grandfather crossed the same boundaries when he illustrated the erotic and sometimes violent works of Voltaire, Boccaccio and Casanova. Many of these works were originally censored, from a variety audiences, and specific illustrations by Kent-Dr. Pangloss and the Maiden-failed the rigors of an even more scrutinizing editor.

Teetering on the boundary line were other, little known works by Kent, such as his tome of love to Olga Drexel Dahlgren, in which erotica is secondary to his exquisite rendering of passion.

View Larger Image Patrick Finney

32. Peterbuilt Appreciation. 2001. Screen print. Image: 17 x 24 1/2 in.
View Larger Image Molly Carter

33. Neck Extension: Formal Wear. 2001. Men's white cotton collars. 11 x 6 in. Collection of the artist.



All works, collection of the artist.

Copyright Scott R. Ferris

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