Artist of the Month March 2010

Katy Kuhn

Mill Valley, CA

My art isn’t about reproducing what I see in the world, but rather bringing spontaneity, energy and authenticity to each painting; for that work to have a life of its own.
 
I am a fourth generation Californian and have lived in the San Francisco Bay Area most of my life. Although I am not a “landscape” painter, I am heavily drawn to the rugged and colorful landscapes I have grown up with. My work often reflects water, rocks, earth, and movement. Early on I was fascinated by the compositions of Alexander Napote, and have always been completely attracted by the raw and exploratory work of Robert Motherwell and Spanish painter/printmaker Antoni Clavé.

I have been blessed to explore creativity throughout my lifetime. In addition to studying the formal aspects of art at University of California at Santa Barbara and Berkeley, I have also studied printmaking (with an emphasis on monotype) with noted printmakers Ron Pokrasso, Jonde Northcut and Nick Capacci. The printmaking process informs my painting: I use many of the same techniques (additive/subtractive, multiple “drops,” stencil and collage) to enhance the richness of the work.

How and when did you start creating art?

I started drawing/painting when I was four years old, but nobody told me it was “art!” Professionally I began painting and printmaking about 5 years ago.

What media and genres do you work in?

My subject matters are typically abstracted landscapes or other non-representational themes. Although I may work in a series (as when I find a color palette that is pleasing), every time I start a painting it is with no firm idea in mind. After a period they take on a life of their own, sometimes ending up far differently than they began. Each painting is its own work.

I paint with acrylics (I like the fast-drying time, the lack of toxicity and the challenge of making it look like oil paint!) and use a variety of things that will adhere to a canvas.

Who or what are your influences?

My influences are the colors and shapes around me: seascapes, rock-scapes, and anything that lends an exclamation point. As for artists, I admire greatly the work of California artists Jylian Gustlin, Chris Gwaltney, and my friend, Helen Steele.

“In Search of Divinity" - As always, the challenge of beginning a journey that has no specific destination… midway through this particular composition I had my usual conversation with self, and  what I realized was that when I create artwork I really am hoping for some enlightenment, or divine inspiration to come to me because, like most artists, I am never certain if I can [again] create something worthy—even with the best of intentions and dedicated labor.

Describe your creative process?

As I mentioned earlier, when I start a piece I do not have a specific goal in mind. I find a huge challenge in breaking into a large white canvas: where to start! It’s daunting. In this particular work I began by tearing huge pieces of random paper (bits of newspaper, wrapping paper, handmade paper…) and securing them onto the canvas with medium. Then, after turning the orientation of the canvas in all directions, I begin to build a composition of shapes and lines. I am intrigued with vessels, and other loose, historical shapes and icons as well as the power of random mark-making. In this piece those show through, but the energy of color movement is just as important. Near completion I realized that adding a “text” element would convey what I was trying to accomplish, thus the title “In Search of Divinity.”

What are you working on currently?

A series of large abstract works that present ambiguity and familiarity concurrently.

What are your near/long term goals as an artist?

To have my pieces seen in public places so that many people can enjoy the inherent personal relationship one has with art. For example, I have one series of mixed-media monotypes that are about the soldier of war. They are very strong and edgy, but elegant at the same time. People are constantly attracted to them but they don’t know why, and they don’t really see the soldier figures in each piece. Most people will not buy a piece that has such an aggressive theme, even though they are wildly attracted to it. The images are quite worthy and I would like them to be where people can view them without having to put them in their living room.

Where can people view/purchase your work (gallery, website, etc)?

I currently have work at:
Robert Allen Fine Arts in Sausaltio (http://robertallenfineart.com/)
Marin MOCA (http://www.marinmoca.org/)
Hinc. Showroom in San Francisco, (http://www.hincshowroom.com/)
And by appointment at my studio: (www.katykuhn.com)