The fancy Fractured Atlas webpage is here, but I thought I'd also like the interview posted on my blog. Special thanks to Emily Bowles who contacted me about the feature and wrote an awesome bio of me and my work.
Kaylie, would you please describe the Ice Series?
In this series of paintings, ice is left to melt over beads of acrylic paint on the level surface of a carefully prepared canvas. I mix a primer that allows the surface to absorb enough paint to stain while simultaneously repelling the water enough for it to pool and evaporate. The results are mysterious marks of color that interact with one another spontaneously.
I place preliminary areas of raw paint on the primed canvas intuitively, many times following my inclination toward what I call the “totem pole” format, which is vertical and linear. I do not manipulate the melting ice. Since the ice is a powerful contributor to the imagery that evolves, the resulting shapes have likely strayed from where the beads of paint were initially applied.
In this series of paintings, ice is left to melt over beads of acrylic paint on the level surface of a carefully prepared canvas. I mix a primer that allows the surface to absorb enough paint to stain while simultaneously repelling the water enough for it to pool and evaporate. The results are mysterious marks of color that interact with one another spontaneously.
I place preliminary areas of raw paint on the primed canvas intuitively, many times following my inclination toward what I call the “totem pole” format, which is vertical and linear. I do not manipulate the melting ice. Since the ice is a powerful contributor to the imagery that evolves, the resulting shapes have likely strayed from where the beads of paint were initially applied.
How long will the Ice Series continue?
In art classes, I was always known as a student whose style had extensive variety. Soon enough, my critiques taught me that variety is a double-edged sword — when my work was mounted together in one display it looked like the work of many artists. The Ice Series is the first project that I have continued for a long period of time and have been obsessed with — for about one year so far. I see myself working with this project for at least five more years, and though I try not to look further ahead, I would not be surprised if it continued longer.
In art classes, I was always known as a student whose style had extensive variety. Soon enough, my critiques taught me that variety is a double-edged sword — when my work was mounted together in one display it looked like the work of many artists. The Ice Series is the first project that I have continued for a long period of time and have been obsessed with — for about one year so far. I see myself working with this project for at least five more years, and though I try not to look further ahead, I would not be surprised if it continued longer.
Who or what are your biggest influences, either artistic or from life in general?
I’ve always been interested in chance, possibility, inevitability, probability and randomness. Lately these interests have directed me to a category of mathematics, which I’m trying to define more in my work through physics. I am still working on describing this relationship more clearly with my paintings. I read a lot of non-fiction about chance and randomness, and recently I fell in love with Ori and Rom Brafman’s Sway: The Irresistible Pull of Irrational Behavior. I’m sure this bit of psychology will find its way into my paintings, too.
In terms of the way I work and my definition of “good” art, I am undoubtedly influenced by the raw art of outsider artists. And of course, my family and the people I surround myself with influence me, but this doesn’t normally surface in my work. They’ve contributed to other things, like my ridiculous laugh and my tendency to eat too much pasta.
I’ve always been interested in chance, possibility, inevitability, probability and randomness. Lately these interests have directed me to a category of mathematics, which I’m trying to define more in my work through physics. I am still working on describing this relationship more clearly with my paintings. I read a lot of non-fiction about chance and randomness, and recently I fell in love with Ori and Rom Brafman’s Sway: The Irresistible Pull of Irrational Behavior. I’m sure this bit of psychology will find its way into my paintings, too.
In terms of the way I work and my definition of “good” art, I am undoubtedly influenced by the raw art of outsider artists. And of course, my family and the people I surround myself with influence me, but this doesn’t normally surface in my work. They’ve contributed to other things, like my ridiculous laugh and my tendency to eat too much pasta.
What has been your greatest success to date?
The success closest to my heart is the support I have earned from some inspiring professional artists and other arts-related professionals. This kind of success is like a propeller that pushes me to continue my work at full speed. A recent but smaller success is that I currently have a piece in an exhibition called “What Does It Mean to Be Human,” which will travel the East Coast and then head to Johannesburg, South Africa. It’s fun to say that I am “internationally exhibited,” even though I know that’s just success on paper.
The success closest to my heart is the support I have earned from some inspiring professional artists and other arts-related professionals. This kind of success is like a propeller that pushes me to continue my work at full speed. A recent but smaller success is that I currently have a piece in an exhibition called “What Does It Mean to Be Human,” which will travel the East Coast and then head to Johannesburg, South Africa. It’s fun to say that I am “internationally exhibited,” even though I know that’s just success on paper.
What’s running through your head when you are entering a critique of your work? Or when you are mounting a show?
Mounting a show is really exciting. Honestly, I am more concerned with hanging the pieces correctly than what people will think of the work! It seems like a backwards thought, but if the show is going up, then I already know something worthwhile must be there in the work. On the other hand, if the painting is not perfectly level, that will distract from the work. The same is true if the spacing and lighting are off.
Entering a critique is very different. By clearing my head, I build a shield similar to the primer I use on my canvases: I want to absorb enough to leave a mark, but repel enough so that I’m not taking the wrong advice. I feel pretty solid in my technique and ideas of the Ice Series. Sometimes I need to give a lengthy introduction to a critique, because I’ve learned that if your work is somewhat conceptual, people are very interested in knowing the ideas behind it while considering the visual elements of the work.
Mounting a show is really exciting. Honestly, I am more concerned with hanging the pieces correctly than what people will think of the work! It seems like a backwards thought, but if the show is going up, then I already know something worthwhile must be there in the work. On the other hand, if the painting is not perfectly level, that will distract from the work. The same is true if the spacing and lighting are off.
Entering a critique is very different. By clearing my head, I build a shield similar to the primer I use on my canvases: I want to absorb enough to leave a mark, but repel enough so that I’m not taking the wrong advice. I feel pretty solid in my technique and ideas of the Ice Series. Sometimes I need to give a lengthy introduction to a critique, because I’ve learned that if your work is somewhat conceptual, people are very interested in knowing the ideas behind it while considering the visual elements of the work.
What motivated you to become a member of Fractured Atlas?
A Fractured Atlas representative gave a great presentation at the Massachusetts College of Art and Design. Usually (and not unusually for artists) when the words “finance” or “taxes” come up, my eyes glaze over. But she was very informative and I left the presentation excited to give it a shot.
A Fractured Atlas representative gave a great presentation at the Massachusetts College of Art and Design. Usually (and not unusually for artists) when the words “finance” or “taxes” come up, my eyes glaze over. But she was very informative and I left the presentation excited to give it a shot.
How do you currently use your Fractured Atlas membership?
The online courses of Fractured U. have underscored the good advice that has been given to me. And I have fiscal sponsorship through Fractured Atlas; this means I can accept tax-deductible donations to help fund my series, which will come in handy as I am planning to have a benefit event in the future.
The online courses of Fractured U. have underscored the good advice that has been given to me. And I have fiscal sponsorship through Fractured Atlas; this means I can accept tax-deductible donations to help fund my series, which will come in handy as I am planning to have a benefit event in the future.
What’s some of the best advice you have been given regarding art or “The Art World”? What is a piece of advice you wish you had been given?
The best advice: Just Do It. (Really. I have a Nike swoosh taped to my studio wall.) Before the Ice Series, I was the queen of “artist’s block” and procrastination for fear that what I produced wouldn’t satisfy my expectations. It is this “just do it” mantra that led me to my current work and now I don’t have to refer to “the swoosh” on a daily basis anymore.
Also, when I talk about being “obsessed”, it’s a word I choose purposefully. Many professors have told me to obsess over something and do it repeatedly (probably those same teachers who thought my collective works looked like the work of many different artists), and now I know why. It’s hard to build success from pieces of art that you’ve made on a whim, not only because they may not be developed enough, but also because if you’re not frantically in love or obsessed with what you’re doing, your pursuit of success will not be as strong or determined.
Some advice that would have been helpful is that not all gallery owners and directors are as professional as they should be. I’d had a fantasy-like vision of what art gallery personnel would always be like, but after a horrific experience with one gallery in New York City, now I know to take charge and express my wants and needs before work is delivered for a show. Because of my disappointing experience, now I read carefully and don’t hesitate to amend any contractual agreements between a gallery and myself.
What’s next on your professional horizon?
I am in the preliminary stages of planning and building my website, which I hope to finish by the end of this year.
How can we see and learn more about your work in the meantime?
I have a blog, and I show work on my Deviant Art site. My blog also has a link to my UGallery page where I sell small pieces.
The best advice: Just Do It. (Really. I have a Nike swoosh taped to my studio wall.) Before the Ice Series, I was the queen of “artist’s block” and procrastination for fear that what I produced wouldn’t satisfy my expectations. It is this “just do it” mantra that led me to my current work and now I don’t have to refer to “the swoosh” on a daily basis anymore.
Also, when I talk about being “obsessed”, it’s a word I choose purposefully. Many professors have told me to obsess over something and do it repeatedly (probably those same teachers who thought my collective works looked like the work of many different artists), and now I know why. It’s hard to build success from pieces of art that you’ve made on a whim, not only because they may not be developed enough, but also because if you’re not frantically in love or obsessed with what you’re doing, your pursuit of success will not be as strong or determined.
Some advice that would have been helpful is that not all gallery owners and directors are as professional as they should be. I’d had a fantasy-like vision of what art gallery personnel would always be like, but after a horrific experience with one gallery in New York City, now I know to take charge and express my wants and needs before work is delivered for a show. Because of my disappointing experience, now I read carefully and don’t hesitate to amend any contractual agreements between a gallery and myself.
What’s next on your professional horizon?
I am in the preliminary stages of planning and building my website, which I hope to finish by the end of this year.
How can we see and learn more about your work in the meantime?
I have a blog, and I show work on my Deviant Art site. My blog also has a link to my UGallery page where I sell small pieces.
Kaylie -- It was my pleasure! I wish you continued success with all your endeavors! -- Best wishes, Emily Bowles
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