When associate professor of visual arts Kelley Bell thinks back to her childhood growing up in the Capitol Hill area of Washington, D.C., she recalls fond memories of playing in her neighborhood playground, locally dubbed as “Turtle Park.”
“I remembered the concrete structures behind the turtle in the playground and it really inspired me to want to figure out how they came to be,” Bell says.
The public park, officially named Marion Park, was given the “Turtle Park” moniker because of the large concrete turtle structure that lived in the center of its playground, designed by Virginia Dortch Dorazio in 1953. Bell, M.F.A. ’06, imaging and digital arts, remembers Turtle Park as a prominent staple of her adolescence and decades later, the park also acts as the inspiration behind her latest project “Fantastic Village,” which will be on display at the Baltimore Museum of Art (BMA) from April 27 through July 27 as part of the museum’s Baker Artist Awards exhibition.
The power of design
Bell was a 2024 recipient of the Greater Baltimore Cultural Alliance’s Baker Artist Award. The BMA exhibit will feature 20 works from five recent Baker Artist Award recipients, including Bell’s “Fantastic Village.” The colorful geometries of Bell’s installation draw on memories of now-demolished playgrounds of her youth in Washington, D.C., and Baltimore’s iconic rowhomes, bridging together the two places she calls home.
Bell creates vibrant projection-mapping works on a grand scale and gallery installations that emphasize joy, playfulness, community, and human connection. Before pursuing her current career as a visual artist, designer, and educator, Bell initially thought she’d be a lawyer. She believed that since her father was a speechwriter for President Gerald Ford and her mother was a teacher, she’d continue the family’s lineage of public service work.
However, “drawing in class was always a problem with me to the degree that it’s written on a lot of my report cards, saying, ‘Kelley has a lot of attention issues.’ I never thought of art as a career,” says Bell.
Growing up in the nation’s capital, Bell was heavily influenced by the city’s independent music scene. During her wanderings through downtown Washington as a teenager, a chance encounter with a repurposed “five and dime” store (then home to the Washington Project for the Arts) changed everything.
“When I walked in that store, I never saw anything like it,” Bell recalls, “There were zines, posters, paintings, and tapes for bands all around. It was a window into this idea that art doesn’t have to be this picture on the wall and that was an amazing idea to me even at a young age.”
After graduating from Pratt, Bell landed a designer role for a record pressing plant that worked with dance music labels. Continuing her work in the entertainment industry, she freelanced for MTV Networks for several years before she was encouraged to explore Baltimore after a recommendation from a fellow designer who boasted about the city’s arts scene. A one-day exploration of the city convinced Bell that Baltimore was the place for her.
Bell was accepted into the Pratt Institute in Brooklyn, New York where she initially majored in illustration. But once there, she was introduced to the concept and the power of design. “A friend explained that designers construct the existing world, and I believe that’s an amazing power to have. I quickly switched my major after that,” says Bell.
In 1997, Bell moved into Baltimore’s now-defunct H&H Arts Building, a five-story warehouse where local artists lived and worked for more than two decades. It was at H&H where Bell was initially connected to performer and fellow UMBC alum Beatrix “Trixie Little” Burneston ’99, visual and performing arts, a founding member of Fluid Movement, a Baltimore-based organization that utilizes public spaces to create joy and community through performance art that most notably includes quirky water ballet performances in Baltimore City public pools.
“Fluid Movement did a rendition of the opera ‘Carmen’ with hotdogs on sticks. They designed a stage and costumes for hotdogs and had a composer to do the score,” shares Bell. “To see people pour that much love and effort into something that ultimately is incredibly silly and unusual is, to me, a heroic act.”
Bell worked with Fluid Movement as a designer and the group then became a long-time client that she worked with throughout the years. Bell has also collaborated with a number of organizations and art collectives across Baltimore, including working with the Enoch Pratt Library and the community art space Creative Alliance. Bell’s project “The Clock Strikes 100,” a series of short animations designed for and projected within the Baltimore’s historic Bromo Seltzer Art Tower, was designated “Best Public Artwork” in Baltimore Magazine’s “Best of Baltimore 2011” issue.
“Projections, Inflatables, and Artistic Spectacles”
Bell’s first introduction to UMBC was on a snowy day in 2001. Her friends recommended UMBC’s campus as a great place for sledding due to the campus’ hilly landscape. Soon after, Bell decided to expand her skillset and enrolled in UMBC’s M.F.A program.
“I was like a kid in a candy store with all of the stuff that I could do. It was a new world being opened up to me,” says Bell.
After experiencing difficulties in executing her thesis project to her satisfaction, Bell was advised by her then-thesis chair Preminda Jacob to consider extending her time in the program for an additional year.
“That extra year was the year that I figured out projection mapping. Doing guerilla projection projects changed the way that I thought about making art. That has been a form of art that’s served me since I’ve graduated from UMBC and it was all because of that fourth year,” says Bell. Guerilla projection mapping—the use of projectors to display images, animations, or videos onto various surfaces in public spaces without formal authorization or permits—helped to inform the foundation of Bell’s artistic pursuits.
Bell’s large-scale projection-mapping works and public installations have been featured in national and international festivals for almost two decades. Among her notable works include “The Herd,” a 2018 installation that was part of Light City Festival in Baltimore City. The project featured more than 300 solar powered inflatables that were placed into Baltimore’s Inner Harbor as a call to action for healthy waterways in the harbor.
In addition to her artistic practice, Bell has been an educator at UMBC since 2008. Earlier this year, Bell presented a retrospective of her work and her research practice with the presentation “Projections, Inflatables, and Artistic Spectacles,” organized by the UMBC’s Center for Innovation, Research, and Creativity in the Arts (CIRCA).
“The CIRCA talk was a breakthrough. It was the first time that I took in the full scope of starting with an M.F.A. and how that work led up to the BMA exhibit,” she says.
The motivation behind Bell’s BMA exhibit “Fantastic Village” largely stemmed from her collaboration with UMBC theater professor Collete Searls on the “Enchanted Jangle” installation that was part of the 2024 Sweaty Eyeballs: Animation Adjacent gallery exhibition, curated by Corrie Parks, associate professor of visual arts. The installation is described as an “epic cardboard fort your five-year-old self dreamed of.”
“There’s a playfulness about it but also a deeply-weird and creepy aspect to it. This is the place I like to dwell—giving people something new and something that they can’t figure out is something that is very important to me in my work.”
Tags: Alumni, Baltimore City, CAHSS, MFA, Research, VisualArts
