KAC Interview: Elizabeth Atterbury

Friday, February 3, 2017 at 9:21 AM

Portland based artist Elizabeth Atterbury talks art, inspiration, and the transition of being a new mother with KAC in our latest Interview Interview. 


Elizabeth Atterbury, "Happy Sunny Jade" 2016, installation view


Elizabeth Atterbury, "Relief (Studio Taupe)," 2015, MDF, paint

KAC STUDIO VISIT: MYKE VENABLE

Friday, January 13, 2017 at 10:59 AM

Myke Venable's work investigates the infinite potential and purity in shape indicating a visual representation of his own paired-down universe. From detailed sketches in an open notebook on the worktable to mathematical drawings tacked to the wall, Venable's studio is a perfect diagram of his working and theoretical process. During our visit, KAC viewed Venable's newest body of work and saw how his paintings have evolved into what they are today. 


Door to Myke Venable's studio space

While teaching at The Art League in Houston, Venable rediscovered his love of drawing. He has since dedicated one of the largest walls in his small studio to colorful geometric explorations, mapping out on paper his ongoing study of the complex relationship between shape and color. While he views his drawings as independent works, they also serve as inspiration for shaping his large canvas and panel paintings. 


Venable with his geometric studies on paper

The drawings come to life on wood panels covered with pristine layers of acrylic paint squeezed straight from the tube. Mixing colors, he explains, would complicate his process of instinctually matching color and shape. Venable then focuses on creating thought provoking relationships through the particular arrangement of each element on the wall.

http://www.mykevenable.com/2016-.html
Cluster of Venable's paintings in his studio

Venable’s newest paintings cleverly juxtapose not quite symmetrical shapes with slightly irregular placements and parings. Tension builds within the negative space between the paintings as they barely touch, leaving the viewer to question whether the forms are merging together, floating apart or statically coexisting. Every combination creates a new dynamic that alters the energy of the cluster itself, therefore impacting the space in which it resides. 


Detail of Venable's clusters

Looking ahead, Myke seeks to push boundaries of depth, scale and color. Myke Venable is represented in Houston by Gallery Sonja Roesch where his next exhibition opens on January 21, 2017.

KAC Interview: Klea McKenna

Monday, October 3, 2016 at 3:35 PM

California based artist Klea McKenna walks KAC through the evolution of her first beginner photography class to her ongoing experimentation with photograms. Read our interview below to learn how McKenna continuously pushes the boundaries of traditional photography practices, producing an innovative body of work. 


Klea McKenna, "Archipelago," 2012-2013, photogram


Klea McKenna, "Rainstorm & Rain Studies," 2013-2016, gelatin silver photogram

McKenna is represented in Los Angeles, California by Von Lintel Gallery. 

KAC STUDIO VISIT: LIBBIE MASTERSON

Monday, August 29, 2016 at 10:46 AM

Hidden at the end of a beautiful lot densely populated by lush Houston greenery, Libbie Masterson's studio feels like her own personal oasis. The high ceilings and large windows yield a flood of soft natural light ideal for viewing her vast array of work including photographs, paintings, watercolors, glass mosaics and even stage set maquettes.


Outside of Masterson's studio 

Masterson's lively persona is a striking counterpart to her tranquil, contemplative work. Our studio visit began with a look at her new glass mosaics, an extended exploration of her large-scale installation at the Houston Hobby Airport. These works are heavily influenced not only by Masterson's affinity for nature, but also music. Masterson shared her life-long fantasy of composing a symphony, and explained to KAC how she incorporates this hidden passion into her work by listening to songs on repeat and allowing the music to dictate the emotional direction of each mosaic.  


KAC in Masterson's studio


Close up of Masterson's glass mosaics 

The imaginative glass compositions provide a splash of color to Masterson's otherwise monochromatic studio, filled with icy landscape photographs of deep grays, blues, and whites. These mesmerizing and meditative photos are back-lit and displayed as illuminated light boxes. Masterson walked us through the rewarding process of working with the light boxes, and calculating the perfect hue and strength of light to properly enhance the imagery without overpowering it. 


Masterson's light box photographs 

Masterson’s dream project: set design for an entire opera! Her infinite sources of inspiration and matching talent pose a promising future of endless possibilities and exploration. Be sure to attend her upcoming exhibition, opening September 10th 2016 at Catherine Couturier Gallery, who represents Masterson in Houston. 


Masterson's glass mosaic work station

KAC Interview: Alison Weaver

Wednesday, August 17, 2016 at 2:06 PM

Former Director of Affiliates for the Solomon R. Guggenheim Museum in New York, Alison Weaver, walks KAC through the exciting transition into her current position as Executive Director at Rice University's Moody Center for the Arts. Check out our interview below to get the details on Weaver's return to the Houston art community!

Don't miss Rice University's new Moody Center for the Arts, opening to the public in February of 2017. 


Rendering of the new Moody Center for the Arts

KAC INTERVIEW: MICHELLE WHITE

Wednesday, June 29, 2016 at 10:28 AM

KAC asked Curator of The Menil Collection, Michelle White for an inside look into her daily life and points of inspiration. See what this Houston art community power house has to say. 


Inside of The Menil Collection

 

KAC Interview: Michael Kennaugh

Tuesday, June 14, 2016 at 3:20 PM

Texas based artist, Michael Kennaugh, talks art with KAC. In this exclusive interview Kennaugh describes his experience in the growing Houston art scene and the colorful inspiration behind his process. He also reveals a glimpse into his forthcoming body of work.


Michael Kennaugh, artist


Micahel Kennaugh at Moody Gallery in Houston, Texas 

KAC Interview: Steve Sacks

Thursday, April 28, 2016 at 11:25 AM

Founder and Director of bitforms gallery, Steve Sacks, gives us the inside scoop on his quirky upbringing, his futuristic gallery, and his twenty-first century go-to technological tool in this exlusive interview with KAC. 

Inside view of bitforms gallery

KAC Interview: Rainey Knudson on Glasstire's OFF ROAD Event

Monday, April 25, 2016 at 11:53 AM

KAC got together with Rainey Knudson for an exclusive interview discussing the forthcoming April 30th OFF ROAD event with William Wegman. Here is what Founder and Publisher of the Texas arts online magazine, Glasstire, has to say. 


William Wegman, speaker at OFF ROAD 2016

Resurgence of Casey Williams

Monday, April 11, 2016 at 9:38 AM


Casey WilliamsUntitled, c.2012, acrylic on archival inkjet print. Exhibited at Art Palace Gallery. 
Casey WilliamsUntitled (detail), c.2012, acrylic on archival inkjet print. Exhibited at Art Palace Gallery. 

As a long time friend of Casey Williams we were delighted when Art Palace put on an exquisite show of never before seen works by Williams. In conjunction with Fotofest Biennial 2016, a discussion panel revolving around Williams' final works was organized by his wife, Jo Ann, studio assistant, Nick Merriweather, and the owner of Texas Gallery, Frederika Hunter. The dialogue between the three was a culmination of reminisicing over Williams' work style, the meaning behind his final series, and the lasting mark he has made on the Houston art scene. 


Casey Wiliams, Studies of 4 x 4 foot photographs 

For Williams, expirimentaiton across all mediums and ideas is what led to his final series being known as the "painted-ons", where Williams would brush paint across his photographic images. Williams did not personally speak much about his art. However through Williams' life, it is indisputable of his love for the Houston ship channel and the influence it made on his work. Williams was particularly interested in the way a ship would float toward the surface as goods were unloaded, decreasing the ship's weight. The lower portion of the ship would then be repainted by the crewmen. The action of repainting is symbolic of Williams' paint strokes atop his own images. Many of the strokes are colors of blues and silvers, further symbolizing the shimmer and reflection of water and possibly an ode to his earlier silkscreen works, as well as becoming a meditative process for Williams. 


Book compiled of photography by Casey Wiliams 

Casey Williams noticed details that many would naturally overlook. He forced the viewer to go somewhere they would normally bypass, giving a new perspective to the world. Williams was a master at opening up our eyes to beauty. 


Casey WilliamsUntitled, c. 2012, acrylic on archival inkjet print on satin. Exhibited at Art Palace Gallery. 
Casey WilliamsUntitled & Untitled, c. 2012, acrylic on archivsl inkject print. Exhibited at Art Palace Gallery. 

KAC Interview: Yamini Nayar

Monday, March 14, 2016 at 8 AM

We first discovered artist, Yamini Nayer, at a presigious art fair last year. Brooklyn based, Nayar, has been on our radar since, and we recently had the pleasure of doing an interview with her! Check it out now on our Let's Talk Art Interview below to see what her art process is all about. 


Yamini NayarStrange Event, 2015, photograph
Yamini Nayar, Garden for Laborers2015, photograph

Q&A with Natasha Bowdoin

Tuesday, June 23, 2015 at 10:01 AM

Kinzelman Art Consulting recently organized a temporary exhibition with Houston based artist Natasha Bowdoin at HOK Architect’s crisp and beautiful new space. Bowdoin’s The Daisy Argument Revised is a striking and dynamic spray of feathered elements that recall the aquatic flora of her native Maine. She has installed many iterations of this layered cut paper piece over the years, the first being in 2010. 

Professor of Painting and Drawing at Rice University, Bowdoin is known for her painstakingly detailed cut paper installations and collages. Process and content are equally important to Bowdoin in her work. She spends hours hand-cutting the paper elements in direct and visceral response to the even more labor-intensive drawings and transcriptions of significant literary texts. Here the artist has fluidly recorded the text of Lewis Carroll’s Alice’s Adventures in Wonderland and portions of Through the Looking-Glass throughout the abstract composition of the piece. 

Natasha Bowdoin’s The Daisy Argument Revised will be on view at HOK through mid-December, 2015.

During the installation process, where Natasha intuitively attached individual elements to HOK’s feature reception wall, KAC’s Adrienne Johnson had a conversation with the artist about the piece and about her work in general.

Q: What was the first text you transcribed?

A: Alice’s Adventures in Wonderland. Before, when I first started to use writing in my work it was much more fragmentary. I would transcribe clips of overheard conversation, portions of remembered song lyrics, and bits of my own stream of conscious writing: things that were floating around the studio as I worked. My work is now made up of other authors’ texts. I was drawn to the idea of using others’ writing as a kind of found, raw material, in that it introduced an element into the work and process that wasn’t personal to me and wasn’t something I could predict.  This particular piece includes transcriptions of the entirety of Alice’s Adventures in Wonderland, and a portion of Through the Looking-Glass

Q: How long does it take you to make a piece like this, in its original iteration?

A: This piece in my mind will never be finished. Firstly, I want to complete the transcription of Carroll’s second Alice book. As I mentioned before, I have only partially completed Through the Looking-Glass. Secondly, while at some point the drawings and component parts will be complete, I see this piece staying in flux and transition, resisting any one finite form. The piece is intuitively recombined in each new space it comes to inhabit, never going together the same way twice. Each installation is to a certain extent improvisational.  Drawings for a particular installation are usually in the making for several years, as I tend to work on a lot of different pieces at once. If I sat down and focused solely on one installation alone it would come together faster but I like splitting my attention across different works and projects in the studio, in the hopes that different pieces might influence one another in a way I can’t predict. 

Q: Is it your intention that viewers read your works?

A: I hope people are neither prevented from reading the work nor feel obligated to. I’m not particularly interested in using text as a means to directly articulate a message or illustrate a meaning.  There is a tradition of text in art, established especially in certain kinds of artistic investigation that really took off in the 1960s, that focuses on text as a device for communication or a signifier of meaning. I’m more interested in and inspired by artists like León Ferrari, Robert Smithson, and Mira Schendel, who I think were really interested in the abstract potential of text. People can look for meaning in my drawings, but the structure defies any sense of logic. I don’t give anyone a specific place to begin. Text I think isn’t always straightforward, obvious, or transparent. I like channeling this room for flexibility, ambiguity, and a text’s potential.

Q: Will you tell me about the inspiration for the forms themselves?

A:  A lot of the pattern I gravitate towards as source material is nature based. I’m fascinated with how humans over time have tried to depict and document the world around them. With this piece, I’ve had people tell me that they are reminded of life under the sea, seaweed and sea fans for instance. These weren’t forms I intentionally had in mind but I guess it’s impossible for me to get away from where I grew up. The natural surroundings of my home state of Maine and elements of my upbringing I think work their way into my work subconsciously. 

Originally this piece was kept in a palette of black, white, and yellow in that I was thinking of the color of type in a book, and of Alice’s blond hair. Eventually I began to add more and more color in an attempt to reference the wackiness and the vibrancy of Carroll’s Wonderland. 

Another reason the work remains in flux is that in a way it’s meant to mirror Alice’s own experience. As she travels through Wonderland she is constantly shrinking or expanding to make her way through the space. There’s a lack of fixed boundary to her own body as she continues on her adventure. This piece is meant to evoke that sense of boundarylessness I find so appealing.

See the installation time-lapse video here: