Kathryn Arnold, submitted artwork
Kathryn Arnold
Painting, Installation
San Francisco, California, United States.
About Me Kathryn Arnold has shown her work on a national scale, from New York City to Hawaii, from Los Angeles to Chicago, Kansas City and St Louis and San Francisco and beyond in museums, galleries, universities non-profits, She has been written about by Alan Artner, art critic for the Chicago Tribune and Raphael Rubenstein, senior editor of Art in America, DeWitt Cheng, San Francisco Visual Art Source and many others. She exhibits nationally in museums, galleries, universities and art centers and is a NEA Regional Fellowship recipient. She has received other fellowships, grants and awards as well. Kathryn’s work is included in numerous public and private collections. Kathryn’s work contains two intertwining veins. One is filled with large, colorful oils on canvas. The other vein includes drawings that are black and white mixed media works on paper. Both display the density and layered mark-making that points to artistic process and content. Kathryn holds an MFA Fine Arts with Honors, BFA with Phi Kappa Phi award. Additional studies: CalArts, CA, Post-Graduate work, University of the Pacific, Ca. Curriculum Development, Post-Graduate Studies, University of the Pacific, Ca. Photography, Kansas City Art Institute (Surface Design), Adobe, OEI (Online Education Initiative, California) . My CV with exhibition history can be found at https://www.artistkathrynarnold.com/resume .
Works
Kathryn Arnold, submitted artwork
Kathryn Arnold (United States) is an artist working primarily with painting. By applying abstraction, Arnold formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. Her work externalizes private processes of thought, highly subjective and unfiltered references to dream worlds. Her work urges us to renegotiate painting as being part of a reactive medium. Arnold’s paintings feature coincidental, accidental and unexpected connections. Combining unrelated aspects lead to surprising analogies. By experimenting with aleatoric processes, she creates intense personal moments masterfully created through rules and omissions, acceptance and refusal, luring the viewer into an internally comprehensible narrative through spaces, fields of color and interpretive markings. Space becomes intuitive aesthetic power. Looking at these works, as a non-literal analogy, is a bit like looking at Google Earth, a satellite vision of our human life, environment and experience. Walk up close to one of these paintings – very close. The physical experience is a defining moment. Art critic Dewitt Cheng refers to them as “…ambiguously horizonless, scaleless vistas…”. These vistas capture deep visceral experiences – one imagines the human touch, kinetic sensation, chaotic energy – a building, a destruction, a complex, bewildering space – and, at the same time, warmth.
