31 Women – March 31st: Kelsey Irvin

31 Women – March 31st: Kelsey Irvin

Kelsey Irvin
Storyline Silk I-V”, 2020                    
Vintage ephemera, gold leaf, oil, acrylic and resin on panel       

An Interview with Kelsey Irvin

Kelsey Irvin

MKM: Tell me about your childhood, where did you grow up? Were you always creative?

KI: I grew up in Western New York outside of Buffalo.  I was constantly drawing as a child. I submitted cartoons magazines as a child thinking I could be a freelance illustrator in elementary school and middle school – I received very nice rejection letters. Beyond that, I never really thought about art as a career, I just knew I would always love and create art. 

MKM: Why did you pursue art?

KI: In college I fell in love with painting to a level I had not expected. I was a bit over-extended those years and had committed to the equivalent of 3 majors, held 2 jobs (one as a TA for 2 professors, and one as a rock climbing guide for the University’s Outdoor program), all while playing college Lacrosse.  Long story short, by my senior year I was so over-extended that I had to cut something out in order to make sure I didn’t lose time in the studio – the place I wanted to be the most. I thought long and hard. Growing up, I’d always loved the saying, “Jack of all trades, master of none.” I believe it was because I actually only heard the first part… “Jack of all trades…” which was something that appealed to me. I loved learning about and trying many different things. My senior year in college, after I had so thoroughly explored the idea of “Jack of All Trades”, something hit me like a load of bricks – it literally felt like it knocked me over…… “Master of None.” I finally heard that part. “Master of None.” I really heard it. It haunted me. You can do everything and become pretty good at a lot of exciting things, but you’ll never really explore one thing to the full capacity, that one thing you truly love, if you’re too busy pursuing other interests. Everything changed for me in that moment. I knew that I wanted to pursue and explore painting more than anything else. I didn’t think it could soon become my full-time job, all I knew was that I wanted to paint and be in the studio as much as I possibly could. I loved it that much. So, I started sacrificing other things for the first time in my life; and it was worth it.

MKM: Where did you study?

KI: St. Lawrence University in Upstate New York. A wonderful school that offered me great experiences and opportunities. 

MKM: Did you have any memorable teachers at St. Lawrence University?

KI: Any teacher that encourages your natural abilities is a memorable teacher. In college I had several wonderful professors. Two that stood out most were Tom Greene and Melissa Schulenberg. Tom is an Environmental Psychologist that I worked for and Melissa was my printmaking instructor and an artist herself. They were both so encouraging to me in finding my way, pushing me to pursue my unique interests and helping make a path out of those interests during my college career. 

MKM: When you’re creating what’s your daily routine? rituals, patterns?

KI: My routines and work patterns have changed a lot over the years. Before kids I could easily work thirteen-hour days and paint until my eyes went blurry. I didn’t have a lot of structure, it was just – go to work. I loved it. Over time more and more structure has slipped into my work routine. A year ago we had our 3rd child. Shortly after she was born I accepted representation into my 7th gallery and wasn’t really sure how I was going to pull it all off. I started setting a specific goal for each week of what I needed to get done in the studio. I try to set realistic goals – but also goals that push me a bit. If I’m working on an exhibition this is how I ensure I have enough time to complete what I need to. 

MKM: Do you focus on a specific medium or combination of mediums? Which creative medium would you love to pursue but haven’t yet?

KI: I use everything and anything. I consider myself a contemporary collage artist because collage, specifically vintage ephemera collage, has become such a huge component in what I do over that last 10 years. My work often includes vintage ephemera dating back to the early 1900s, even 1800s, fabric, leather, oil, acrylic, graphite, and sometimes resin. I use collage and assemblage that triggers memories in viewers: Vintage erector set parts, McCall’s dress patterns, Hollywood movie magazines from the 50s, New York Times fashion ads from the 20s, matchbox covers, hand-painted vintage signage; the list goes on and on. The work is meant to be a painting from afar, and a treasure hunt of materials upon further investigation. 

MKM: What themes do you pursue?

KI: Memories, nostalgia; the crossover between past, present, and future. My figures have themes of independence, freedom, adventure, strength of women, as well as the unique and innocent imagination and adventurous spirit from childhood.

MKM: What is your most important tool? Is there something you can’t live without in your studio?

KI: My fabric shears. Collage artists “geek out” over really sharp scissors. I could paint with my fingers if I had to, but I can’t cut with them, or draw with them for that matter. After scissors, I would say a 4H graphite pencil.

MKM: Is there an artwork you are most proud of?

KI: Cornerstone pieces. The pieces that changed my direction because they opened up a new door in my creative world. Magnetique I & II were the first figurative pieces that I did that were entirely collage. A New Daysymbolizes a lot for me and my career. And also, a newer set of panels, Jewels of Narration represents a newer direction in the evolution of my Storyline Panels, a series which I’ve been doing for over ten years.

MKM: What has been a seminal experience?

KI: When I mentioned that in my senior year of college I was overextended, and my studio time was at risk — I ended up making the very difficult decision to leave the college Lacrosse team in my senior year in order to spend more time in the studio. You get very close to team members of a college sports team and I left something very social and exciting to do something rather solitary, but the decision itself was pivotal for me. Without knowing it, I had started down a path of making sacrifices for studio time; Choosing art over many other things. It helped lay the foundation in a career well before I actually knew I would have a career as an artist. 

MKM: What art do you identify with the most?

KI: It’s a wide range. I’m tempted to say collage or mixed media, but that really doesn’t cover it. I think that I identify most with art that is layered in meaning. Art that makes my heart race could be anything. Art that you can’t help but walk up to, get really close to it, and immerse yourself in how the artist created it. I’d like my paintings to be one thing from afar, and another up close. 

MKM: What inspires you? Other artists, women from history, your process, a theme?

KI: The idea of creating something from life, in a way that is different from what anyone has seen before, that draws people in and then brings people back, or propels them forward is inspiring.  Wayne Thiebaud’s landscapes, Andrew Wyeth’s fine detail, Andy Goldsworthy’s leaf and stone formations, Helen Frankenthaler’s uninhibited boldness… There are so many artists from the past and present that are awe inspiring. Making something new and different is more challenging for artists every year, every decade — but that’s what makes it in and of itself an inspiring task, it’s the challenge — and the reality that it’s possible. 

MKM: Do you have a sense of connection to a particular woman artist from art history? Is there a specific work from this artist that you find interesting?

KI: I would have to say Helen Frankenthaler’s Mountains and Sea because of what it represents, both for her, for female artists. She was inspired, set a new path, stood out among men, and the work is breathtaking. 

MKM: Who are your female role models from history or present day? 

KI: A role model to me is someone who is unwavering in their particular passion; highly capable by choice — a doer because they can’t imagine letting life go by without trying. Someone who is genuinely kind and thoughtful and selfless, but also driven with self-discipline. Someone who isn’t afraid to pursue their dream career and motherhood at the same time. These aren’t always famous individuals, these are people I meet along the way through life that I just want to keep talking to. These are people like my grandmother and my mother. 

MKM: What’s the best piece of advice you’ve been given?

KI: Trust your first instinct. A painting instructor told me that while pointing out my initial painterly gesture in a large abstract piece. He said, “Build the entire piece around that.” He was right. In painting and in life. My first instinct is usually the best choice, and when I choose to ignore it, I usually regret it. 

MKM: What is your dream project? What can we expect from you in the next year?

KI: My dream project in the future is to complete a very large-scale collage/assemblage figurative work that includes dozens of individuals interacting through time; 30 feet or more. Either a mural or a work that can be exhibited and moved — several large works that come together. My plan for next year is to keep evolving my work by way of materials and technique and eventually take the panels into sculptural form. 

Inspiration and tools in Kelsey’s studio

Kelsey Irvin is represented by: Craighead Green Gallery, Dallas, TX; Exhibit by Aberson, Tulsa, OK; GF Contemporary, Santa Fe, NM; Gardner Colby Gallery, Naples, FL; Jules Place Gallery, Boston, MA; Kelsey Michaels Fine Art, Laguna Beach, CA; Studio E Gallery, Palm Beach, FL; and Whitney Modern, Los Gatos, CA

31 Women – March 30th: Chris Hayman

31 Women – March 30th: Chris Hayman

Chris Hayman
Sea Point, 2018    
Oil on canvas

Chris Hayman

Trained as a classical pianist, Chris Hayman is greatly inspired and influenced by music in her life. Her early interests also included performing arts and she was actively involved in theater and dance at the Conservatory of Music in Cincinnati and Baltimore. These creative talents eventually led to her primary focus as a visual artist. 

In her paintings, Hayman concerns herself with space. She is interested in how forms are energized by the space around them, especially when incorporated into paintings with vivid contrasting color and thick painterly textures. Along with music, she is inspired by the natural world, and relies on a practice of constant study and exploration of the rural foothills and open lands near her home and studio. 

Hayman received her BA in Art History at the University of Maryland and a second degree in Art at the University of Reno, Nevada where she began her investigation into painting. She currently resides in Northern California on a farm with livestock, orchards, gardens and beautiful surroundings. 

Chris Hayman is represented by Whitney Modern Gallery, Los Gatos; Thomas Deans Fine Art, Atlanta; Desta Gallery, San Anselmo, CA; Judy Ferrara Gallery, Three Oaks, MI; Gallery North, Carmel, CA; Jules Place, Boston; Merritt Gallery & Renaissance Fine Arts, Baltimore and Chevy Chase, MD; Haverford, PA; Kelsey Michaels Fine Art, Laguna Beach, CA; Morrison Gallery, Kent, CT; Julie Nester Gallery, Park City, UT; Octavia Art Gallery, Houston and New Orleans. 

31 Women – March 29th: Kim Frohsin

31 Women – March 29th: Kim Frohsin

Kim Frohsin
A Voile de Decembre, 2018             
Gouache, dry pigment, tempera, ink, pencils on paper
Courtesy of Andra Norris Gallery
 

Kim Frohsin

Kim Frohsin

An esteemed and prolific artist, Kim Frohsin works in painting, drawing, printmaking, and mixed media. Her subjects include the female figure, landscapes and cityscapes, as well as objects, themes and series that attract her attention, and which are most often autobiographical in nature.

Frohsin began exhibiting in the San Francisco Bay Area in the early 1990s, and in 1993 was included with Nathan Olivera, Manuel Neri and Stephen De Staebler in the exhibit Four Figures from the Bay, establishing her among notable Bay Area Figurative artists. With Wayne Thiebaud as the juror, Frohsin won the California Society of Printmakers’ Award in 1996, and the following year exhibited at the de Young Museum in San Francisco in Bay Area Art: The Morgan Flagg Collection.

After earning BA degrees in Humanities and French, Frohsin received her BFA from The Academy of Art College in San Francisco. For more than thirty years she has exhibited in numerous solo and group exhibitions throughout the United States. Her work can be found in both private and public collections including: The Coca-Cola Corporation, Heritage Communications, Atlanta, GA; The Gap Inc., San Francisco, CA; The Crocker Art Museum, Sacramento, CA; and The San Jose Museum of Art, San Jose, CA.

Kim Frohsin is represented by Andra Norris Gallery, Burlingame; b. sakata garo, Sacramento; Paul Thiebaud Gallery, San Francisco and Thomas Reynolds Gallery, San Francisco.

https://www.kimfrohsin.com

31 Women – March 28th: Shannon Amidon

31 Women – March 28th: Shannon Amidon

Shannon Amidon                             
A Curious Place, 2019                  
Encaustic 

An Interview with Shannon Amidon

MKM: Tell me about your childhood, where did you grow up? Were you always creative? 

SA: My childhood was spent immersed in nature on an 1800’s nonfunctioning dairy farm. We were a family of 6 sharing a two bedroom, one bathroom house with no heating. At times I had a very difficult childhood. I grew up in a very poor family with parents who were both drug addicts. They were both very creative and in their own ways tried to give us what they could. Despite the challenging living situation, at times it was a magical place to grow up. I often spent my days escaping into nature, climbing trees, sliding down the foothills on cardboard, playing in the creek catching tadpoles and frogs. I would dig up rocks, pick wildflowers and shake the cherry blossoms from the plum trees to make it snow. We had all kinds of creatures who would visit, deer, skunk, possum, snakes, and more. This experience seeded a deep connection with nature and an insatiable curiosity to learn what I can about natural history. I was always creative, and my parents were very supportive of me expressing myself in many different outlets. We never went to galleries or museums growing up and I didn’t really have an idea of what fine art was. But, I always knew I loved creating and making things. My Mom always liked to tell a story about a time when I was a kid and took all of the silverware from the house and hung it from the tree in the backyard. I was always creating these little art installations having no idea of what that even was. 

Shannon Amidon in her studio

MKM: Why did you pursue art? 

SA: In some ways I feel like I was a late bloomer in art. I was not one of those kids who always knew they wanted to be an artist. I loved to create and express myself, but I didn’t always know how. I never even took any art classes in high school. It wasn’t until I graduated and started going to college that I discovered photography. My boyfriend at the time (now my husband) had a really nice camera and let me use it and encouraged me to take a photography class. I fell in love with the medium and dark room. Having no formal training or skills in drawing or painting, photography was a natural and exciting way for me to express myself. I took all of the courses I could and eventually moved into alternative processes. For me they were a way to take what can sometimes be a cold medium and inject the artist’s hand. I always felt more like an artist than a photographer. I would paint on emulsions, print on fabric, wood and other substrates and experiment with cameraless techniques. From there I couldn’t stop, I found my purpose and there was no going back. I have tried many mediums over the years and my practice has changed and evolved significantly; however, my first love and roots will always be in photography. 

MKM: Where did you study? 

SA: West Valley College and San Jose State University. Although I am mostly self-taught in fine art. 

MKM: Did you have any memorable art teachers? 

SA: I took an alternative process photography class with Brian Taylor (SJSU) that really influenced me. He was such a generous and encouraging teacher and an incredible artist. His artwork opened a whole new world for me. A more mixed media approach to photography. 

MKM: When you’re creating what’s your daily routine? Rituals, patterns? 

SA: I’m a morning creator. After my coffee I go into my studio where I turn on all of my lights, my music and put my apron on. Then I turn my wax on because it takes a while for it to melt and be ready to work with. Encaustic is a very physical medium, so I always try to do some stretching to warm up before I start. I usually work on the actual art making & painting for about 4-5 hours at a time. I am a very process oriented artist and my paintings take a lot of prep before I can actually start painting. There is a lot of research that goes into my artwork and then surface prepping, medium making, and image processing.  

MKM: How has your practice changed over time?

SA: My practice significantly changed when I had a child. I became more focused and had to learn how to prioritize and be a lot more efficient with my time. Even though my creative time was drastically cut, my creativity, dedication and output actually went up. 

MKM: Do you focus on a specific medium or combination of mediums? Which creative medium would you love to pursue but haven’t yet? 

SA: For the last 10 years I have been focused on encaustic. It is a medium that is so versatile and yet can still be challenging to work with. It’s never boring and continually pushes me and my technique. I enjoy using it in a mixed media way, incorporating paper, oil paint, pan pastels, mica, golf lead and more. But the encaustic paint is always the main material. I have always wanted to be a sculptor, ceramic or glass. I love the idea of creating 3d art and those mediums fascinate me. I follow a lot of sculptors on social media and buy all the glass making, sculpting and ceramics magazines and daydream about what I might create. 

MKM: What themes do you pursue?

SA: Broadly my artwork explores themes of nature, science and our environmental impact. The cycles of life, death and impermanence play a primary role in my work. I feel art should be an investigation similar to science. It is about asking questions, researching and seeking to see things in new or different ways. A major factor in my practice is curiosity. I am interested in all aspects of ecology and the natural world and while I can’t know or learn everything, art allows me to discover and study these areas of knowledge without specialization. As I progress along my artistic path, I become more and more aware of the importance of ecological issues. It is very important for me to have a sustainable and environmentally friendly practice by using all natural and repurposed materials. I also hope to inform and possibly educate people about environmental issues with my work. 

MKM: What is your most important tool? Is there something you can’t live without in your studio? 

SA: I can’t live without music in my studio. I can often tie specific albums or song to my different series of artwork. Music is vital and often elevates my mood and motivates me. My most important tools are my hands, torch and loop scraper. 

Shannon at work

MKM: Is there an artwork you are most proud of? 

SA: That’s a difficult question. I think it always changes and is usually my most recent creations. Right now, I am really proud of a 300-piece monarch inspired installation I recently created. When I started it, I had no idea how it was going to turn out. I loosely sketched it out but had no way to really do a test install to make sure it was going to work and look good. I had to do a lot of research and trial and error on how to create and install it. It was the first time I had ever done anything like that and spent about 8 months on it. I didn’t know what the layout was going to be until 2 days before it was to be installed. Everyone kept asking me how the pieces were going to be put together and I didn’t know until I knew. I just had to trust myself and the process. It turned out better than I could have imagined. 

MKM: What has been a seminal experience? 

SA: There are several significant life experiences that come to mind, both personal and professional. I was deeply impacted by a number of heartbreaking deaths and the awe-inspiring gift of life. From 2010 – 2017 I lost seven loved ones, including my parents and grandparents. During this time, I also became a new mother to an amazing daughter. This duality of life and death as well as becoming a mother as I lost my own, significantly changed my practice, color palette and the meaning of my work. My art went through a complete sea change. Most surprising is that it didn’t make it darker or melancholy, in fact observing and experiencing these cycles of life firsthand gave my work more hope, lightness and depth. Professionally there are countless high points along my path as an artist that have impacted and informed my practice. Attending my first artist residency in Costa Rica in 2010 was a huge turning point for me and my practice. It opened a new world by giving me the time and space to create without distractions, obligations or pressure. I was bitten with the residency bug and have attended many local and international residencies since then which have all positively contributed to my practice. Being selected to create three large public art pieces for San Francisco General Hospital creatively pushed me in ways I could not have imagined. It allowed me to learn new ways of working large scale and sculpturally that I had never done before. It opened a number of doors with corporate and private collectors and gave me the courage and confidence to apply and reach for opportunities and goals out of my comfort zone.

MKM: What art do you most identify with? 

SA: Assemblage and mixed media art. The first artwork that I really connected with was Joseph Cornell. 

MKM: What inspires you? Other artists, other women from history, your process, a theme? 

SA: Life inspires me. Curiosity and discovery, natural history, science. Also, just the act of art making itself inspires me. For me the art is the process of creating, not necessarily the finished piece.

MKM: Do you have a sense of connection to a particular woman artist from art history? Is there a specific work from this artist that you find interesting? 

SA: I am really drawn to the work of Eve Hesse and her dedication to material and process.

MKM: Who are your female role models from history or present day? 

SA: Right now, I am inspired by Neri Oxman and Zaria Forman. I feel they are really pushing the boundaries and shining a creative light on climate change and the environment.

MKM: What’s the best piece of advice you’ve been given? 

SA: Be patient and trust the process. It’s something I often have to remind myself.

MKM: What is your dream project? What can we expect from you in the next year? 

SA: One big dream project is to start an eco-friendly artist residency. Particularly one that accommodates parent artists and their children. I love participating in artist residencies, after I had my daughter, I found the opportunities for doing that were significantly reduced. I can’t leave my family for a month or more and there are few opportunities to bring your family with you. Artist residencies have had a significant impact on my career and process, and I think it’s so important to provide them to parents as well. One of the reasons I recently moved to Portland, Oregon was to pursue this dream. I am slowly taking the steps to make this happen. This next year I hope to create more large scale multi piece encaustic installations. I really enjoy creating them and hope to find a space where I can install and share them. 

31 Women – March 27th: Carole Rafferty

31 Women – March 27th: Carole Rafferty

Carole Rafferty
In the Mission, 2019                      
Oil on gallery wrap canvas

An Interview with Carole Rafferty

MKM: Tell me about your childhood, where did you grow up? Were you always creative?

CR: I grew up in a very rural community in Wales and later in a small village on the south coast of England where the road was covered twice a day by the sea when the tide came in. My grandmother was an accomplished portrait painter (I was told that she had paintings in the National Gallery of Scotland and also the Tate Gallery, but I never saw them). As I child I spent many excruciating hours posing for her. I had no appreciation whatsoever for what she was doing, and I dreaded her visits because it meant I’d have to sit still for hours on end without even being able to even talk. I’m not sure if I was creative as a child or not. I know I had a fierce imagination, I traveled quite widely, and I lived for a while in India where my mother’s family were from. I loved reading and I was interested in languages and history, and yes, art too. 

MKM: When and how did you pursue art? Did you have creative role models?

CR: I studied art in high school and loved painting, especially from life. I went to life drawing classes at night in the nearest town and had to catch the last bus home and walk more than a mile with all my art materials along country roads with no streetlights, so yes, I was interested in art. Very much so. All my art teachers at that point, from my grandmother to the teachers in high school to my aunties in India who ran fabric dying and printing companies, were all women. Looking back now – even though I didn’t appreciate ANY of them at the time – they all had an enormous influence on how I was to turn out.

MKM: Where did you study after high school?

CR: At 18, I moved to London and began a four-year degree at the School of Oriental and African Studies in London, England in Asian languages and history. Ancient Indian history is really a history of art because a great deal of it is known through sculpture and architecture. I learned Sanskrit to be able to translate the inscriptions. I learned the differences in symbolism and style between the early Indian dynasties and the later ones. When I graduated, I moved to California to do a joint professional master’s program at UC Berkeley in Asian Studies and journalism. And from there I became a reporter. I worked for the New York Times as a stringer in their San Francisco bureau for five years, I covered the Soviet invasion of Afghanistan, and eventually, after having twins, I settled down into a staid, full time job at the Mercury News in San Jose (in the days when it was a good newspaper and even won a Pulitzer Prize!). But after several decades of cradling the phone between my head and shoulder and typing notes into my computer, the discs in my cervical spine gave out and I was pensioned off because I couldn’t use a computer anymore. 

MKM: How did you transition to become a fine artist?

CR: I sat around for a while, profoundly depressed. I had identified myself as a writer, a reporter, and now that [this job] was gone, who was I? There was no creativity in my life and so, desperate, I decided to take a beginning drawing class at Foothill Community College in Los Altos. It was as if a small bomb had exploded inside me. I realized that this was what I wanted to do and that most probably it was what I should have been doing all along. I threw myself into art, every single thing you could think of – oils, watercolors, sculpture, plein air, portraiture, landscape painting, encaustics, you name it, I took it!  I took classes, too, from a number of local teachers.  

MKM: Who were your memorable teachers at this time?

CR: The most memorable was Rebecca Alzafon, a renowned Redwood City-based artist, who taught a series of year-long workshops in the French academic style of life drawing and portraiture. The workshops were incredibly structured, and they were conducted in a small grey cloistered studio, where every single sliver of light was blocked out so the scene could be completely and utterly replicated day after day. Artistically there was no such thing as going ‘off-piste’ in Rebecca’s workshops. Sometimes students became so frustrated they would burst into tears. She was relentless in her teaching of the methods and practices of the Old Masters. At times I felt like I’d rather open a vein  than sit through another session on light, half tone, shadow, and cast shadows. But my God did I learn a lot!  I credit Rebecca with much of what I know about oil painting.  And even though we disagreed at times and there were times when I swore I couldn’t take another session, I’d always go back and I’m so very glad I did. With those credentials and understandings under my belt, I felt I could experiment. I took classes from Randy Sexton and Bob Gerbracht in San Francisco, as well as a number of different workshops from various American and UK artists. And then I realized that what I needed to do was just DO MY OWN THING. You can’t spend all your time in classes, you’ve got to just do it!  

MKM: Now that you are well established in your practice, what themes do you pursue?

CR: I decided to concentrate on the landscape. Growing up in the countryside I was always profoundly moved by landscape and light. I don’t know why I decided to concentrate on urban landscape, that’s a mystery to me. The only explanation I can muster is that the natural landscape is so beautiful on its own I can’t do it justice, but urban landscape is something else. Especially San Francisco! Here the light changes rapidly, the fog rolls in, the clouds come and go, it’s an ever-changing palette and sensibility.

MKM: When you’re creating what’s your daily routine? rituals, patterns?

CR: My art routines are fairly set in stone. On the days I spend in my studio I get up  and take a brisk walk around the Stanford Dish, I come back home and go straight into my studio. I usually start painting around 9am and on a good day I’ll continue until about 4:30. Other days I spend wandering around the city with my iPhone, sketch book and watercolors, looking for new ideas and new scenes. Sometimes I go to the beach and paint a seascape.

MKM: What is your most important tool? Is there something you can’t live without in your studio?

CR: The one thing I can’t do without in my studio is my bluetooth speaker because as I’m painting, I listen to  podcasts, some educational, some French podcasts, but the ones I enjoy the most are true crime podcasts. Don’t ask me why because quite frankly none of these have anything to do with art but maybe it’s because of all the years I covered crime and the courts as a reporter.  

MKM: What art do you most identify with?

CR: I suppose that representational art is the kind I identify with most, which doesn’t mean I’m not profoundly moved by abstract art, and even installation art sometimes too. One of the most memorable and moving pieces of art I ever saw was an installation piece in the Saatchi Gallery in London looked at from above of a series of wheelchairs careening crazily around a circuit like bumper cars each wheelchair containing an ancient person of a different ethnicity or nationality, showing the futility of tribalism and nationalism. 

MKM: Is there an artwork you are most proud of?

CR: I’m not sure which canvas I’m most proud of, it really depends on which day you ask me. I go through an entire emotional process with each of my paintings, rather like giving birth to, raising, and then waving goodbye to a child as they set off for college.  When a canvas is in its infancy I encourage and am devoted, in adolescence I’m proud of them and adore them, but once they’ve gone, I don’t think that much about them at all. It’s a cycle really, one that keeps me going as a painter. Always the next thing….

MKM: What’s the best piece of advice you’ve been given?

CR: The best piece of advice I’ve ever been given regarding my craft came from my husband, who is a writer. He said, “You should stop each day when you know what’s coming next so when you start next morning you know where you’re going.”  He was talking about writing but it’s equally true of painting. My best paintings all start from a vision. I need to know what I’m going to create before I start… I need to have a vision and clear image of the finished painting in my head before I even touch a canvas especially when it’s a large canvas because it’s so easy to waste valuable time trying to find your way when you should know where you’re going before you even start out. 

https://www.carolerafferty.com

31 Women – March 26th: Ivy Jacobsen

31 Women – March 26th: Ivy Jacobsen

Ivy Jacobsen        
“Sweet as Spring”, 2019                 
Oil, resin, & collage on wood panel 

An Interview with Ivy Jacobsen

MKM: Tell me about your childhood, where did you grow up? Were you always creative?

IJ: I spent my early childhood living on a farm, amongst fruit orchards, in the countryside of Kingsburg, CA, in the Central Valley of California. I spent a lot of time outside in nature with my siblings. I moved to Pacific Grove, CA in my high school years, and I became aquatinted with the beauty of the natural flora, ocean and landscapes of the Central Coast. 

MKM: Why did you pursue art?

IJ: I’ve always been into art and using it to express myself. It was in 1997 that I took my first painting class and I instantly became hooked; it solidified by major in college. Two years later I earned my BA in painting and printmaking from SFSU and I have not stopped painting since. It’s my passion.

MKM: Where did you study?

IJ: I studied at SFSU and continued taking painting classes at The Art Institute in SF. I also continued taking printmaking classes through City College of SF at Fort Mason Center.

MKM: Did you have and memorable teachers  at SFSU and SFAI?

IJ: My memorable teachers include the artist Paul Pratchenko, painting instructor at SFSU, and the late painter Glen Hirsch, painting instructor at SFAI.

MKM: When you’re creating what’s your daily routine? rituals, patterns?

IJ: My studio practice is Monday-Friday from 9am – 3 or 5pm. I treat my studio practice (my art making) as my “job” and love it. Monday is my favorite day of the week, as I get to go back to the studio!

MKM: How has your practice changed over time?

IJ: My practice as changed in that I am more focused now. I have a family and children and I have less time to devote to the studio. However, when I’m in the studio now I’m way more productive and diligent and seem to get more work done now than I did when I had no children. I realize that every studio hour counts, and I try to use the time wisely. 

MKM: Do you focus on a specific medium or combination of mediums?

IJ: I use oil and acrylic paint and 2-part epoxy resin in my current work. I layer my oil and acrylic paint in between a layer of 2-part epoxy resin, to give the illusion of atmosphere and depth. Recently I’ve also been incorporating collage into my paintings.

MKM: What art do you most identify with?

IJ: I identify with Japanese art, some Chinese art, and botanical illustrations.

MKM: What inspires you? Other artists, other women from history, your process, a theme?

IJ: I am inspired by nature in all of my art making. Since I am painting from my imagination, I am focusing on my memories of nature and plants. I paint them in my own stylized way, not so much relying on accuracies but more on the essence of different species of plants in the natural world. Painting is a meditative process for me, and I hope that the peace I feel while making my work radiates into the viewer. 

MKM: Do you have a sense of connection to a particular woman artist from art history? 

IJ: I’m particularly interested in woman artists who balance motherhood with being a full-time artist. It’s been a huge issue in my own life, and I find artists who balance other demands inspiring. Many people expected my art practice to diminish after having children. I can say that it has only become stronger as I find that this career is extremely flexible (my studio hours) and I feel blessed every day that I make a living from my art. 

As far as a particular woman artist, I’ve always loved Georgia O’Keeffe and early works by contemporary painter Yvette Molina. Georgia O’Keeffe’s expressions of flowers are so unique and original for their time; they still are! She forged a path of her own that was quite revolutionary at the time. 

MKM: What’s the best piece of advice you’ve been given?

IJ: Good advice I was given randomly in college by painting instructor Paul Pratchenko. He said that you need to be okay with being alone for long hours a lot in order to be a studio artist. He’s totally right with that one!

MKM: What is your dream project? What can we expect from you in the next year?

IJ: My dream project for 2020 (in addition to my solo show in March at Patricia Rovzar Gallery in Seattle, WA) is to find more representation from a highly respected gallery.

Ivy Jacobsen is represented by Patricia Rovzar Gallery, Seattle, WA and Momentum Gallery, Asheville, NC

https://www.ivyjacobsen.com

31 Women – March 25th: Michelle Gregor

31 Women – March 25th: Michelle Gregor

Michelle Gregor   
“Odalisque”, 2017
Multi-fired to stoneware temperatures with glazes and underglazes

An Interview with Michelle Gregor

Michelle at work in the studio

MKM: Tell me about your childhood, where did you grow up? Were you always creative?

MG: I was born in San Francisco (third generation San Franciscan) and moved to Tahoe City, CA at a young age. Raised by a single Mom, I’m the second of four children. I have a younger sister that I entertained by making drawings, puppets and toys. I’ve always been creative and originally thought I’d become a writer. I ultimately found my creative voice in the clay studio during my first year of college.

MKM: Why did you pursue art?

MG: Why did I pursue Art? I’ve always had a vivid imagination and loved to draw and make things with my hands. My Mom encouraged me to study what I loved and so I took many art classes in college. The communal aspect of the art studio felt like my spiritual home. I’ve always been drawn to creative people, they are the source of my greatest wealth, my artist family.

MKM: Where did you study?

MG: I studied first at UC Santa Barbara and transferred to UC Santa Cruz for my BFA. After completing the degree, I moved to SF and worked at a ceramic cooperative studio (Ruby O’Burke’s ) for about 7 years. I decided to go back to graduate school so I could have access to better studio facilities and attended SFSU where I earned my MFA. I had the opportunity to study with Stephen De Staebler there. 

MKM: Did you have any memorable teachers at SFSU, UCSB and UCSC?

MG: Stephen De Staebler at SFSU, David Kuraoka at SFSU, Sheldon Kaganoff at UCSB and Sandra Johnstone at UCSC. These teachers were all important to me. I feel very fortunate to have been a college student in California during the golden age of education. I have been deeply influenced by each.

MKM: When you’re creating what’s your daily routine? rituals, patterns?

MG: Ceramics is a process-oriented art form. There are many steps and phases an artwork goes through from beginning to end. Much of the work isn’t glamorous. There is the wedging and preparing the clay, recycling the clay, hollowing the form etc. etc. Always many tasks to accomplish! I work on several pieces at once and move back and forth between them. Clay takes time to set up, to hold its shape. It’s easy to overwork a sculpture which may cause it to slump or fall. By moving back and forth between pieces, I can allow works to stiffen up and hopefully retain some of the fresh mark making as the sculptures progress. Deep looking is also an essential part of my process. I sometimes just take a cup of tea into the studio and look. I’ll rotate the artworks and return to my chair and look some more. 

Michelle at work in her studio

MKM: How has your practice changed over time?

MG: I include a lot more drawing in my daily practice. I sketch from works in progress. I allow myself more freedom and am more generous with experimentation and mark making. Now I paint and draw as well as sculpt.

MKM: Do you focus on a specific medium or combination of mediums? Which creative medium would you love to pursue but haven’t yet?

MG: Clay is the most familiar medium and I hold a great love and respect for it. With clay, I can explore form and surface. It’s a generous medium. Over the past 7 years I’ve painted, sketched and drawn more on paper, canvas and board. I’d love to learn encaustic and oil painting.

MKM: What themes do you pursue?

MG: Themes of pursuit are both figurative and abstract. The figure provides a vehicle to explore form, shape, texture, color and space. I will never tire of it! Abstraction has limitless potential to describe emotional and spiritual states. Together the two themes encompass our human existence. My work explores what it is to be inside our human containers.

MKM: What is your most important tool?

MG: My most important tools are my hands.

MKM: Is there an artwork you are most proud of?

MG: There are artworks that I’m prouder of than others but in general, I’m never fully satisfied with anything. I am in pursuit of something that is just out of reach.

MKM: What has been a seminal experience?

MG: A seminal experience might be having first seen the work of artists like Cy Twombly, Joan Mitchell and Auguste Rodin. Being brought to tears by a canvas covered with scratchy marks and not knowing why. My relationship to looking at art has brought me profound emotional experiences.

MKM: What art do you most identify with?

MG: The art I most identify with is abstract expressionism.

MKM: What inspires you? Other artists, other women from history, your process, a theme?

MG: Inspiration comes in so many forms; a poem by Mary Oliver, a canvas by Joan Mitchell, a story by Haruki Murakami… I am deeply inspired by artists of all kinds. I never lack inspiration. It surrounds me both in culture and in nature.

Michelle at work in her studio

MKM: Do you have a sense of connection to a particular woman artist from art history? 

MG: When I was a young girl, I spent a lot of time in our small town library. I recall being particularly interested in the art section and was perplexed why there were so few books on women artists. I remember counting only three books with women’s names on the spine (O’Keeffe, Imogen Cunningham and one other). From that day on, I have relentlessly pursued finding everything I can about women artists and their creative processes. I still recall the thrill of discovering Artemisia Gentileschi. As far as specific artists and their work, I’m deeply enamored of Joan Mitchell’s paintings. 

MKM: Who are your female role models from history or present day? 

MG: My female role models are many and they have shifted places as the years progress. My earliest heroine was Georgia O’Keeffe followed by Anaïs Nin and Colette. Now I look to the Abstract Expressionist painters like Mitchell and Lee Krasner for inspiration. Artists like Kiki Smith, Phyllida Barlow and Kara Walker also are part of my pantheon. 

MKM: What’s the best piece of advice you’ve been given?

MG: The best piece of advice I’ve been given is from my Mother who told me to “follow your heart”.

MKM: What is your dream project?

MG: My dream project is to have a one person show in Paris.

MKM: What can we expect to see from you in the year ahead?

MG: What you can expect to see from me this year is the creation of new works both three dimensional and two dimensional. I have a couple of exhibitions lined up and a lot of work to accomplish. 

https://www.michellegregor.com

31 Women – March 24th: Sara V Cole

31 Women – March 24th: Sara V Cole

Sara V Cole           
Cyclone Series No. 2. C, 2016        
Acrylic, gesso and graphite on Arches Cover Paper mounted on canvas, on wooden bars 

Sara V Cole

Sara V Cole is a nationally represented, internationally exhibited author, teacher and fine art painter with a full-time art making studio practice. Cole earned her BFA in  ceramic sculpture and installation/performance art with a minor in art history. She then completed her MFA in painting and drawing and went on to study graduate level Non-Western Contemporary Art History, all at San José State University. 

When considering women in art and history that have made an impact on her life, Cole listed dozens of women, from artists to politicians. In the category of women artists, she says, “I could name fifty I love, but here are ten that I am obsessed with: Adrienne Piper, Alice Neel, Julie Mehretu, Shahzia Sikander, Käthe Kollwitz, Hung Liu, Artemesia, Ann Hamilton, Marlene Dumas and of course who doesn’t love a little Frida!” In addition to this top ten, Cole recalled seeing the SFMOMA Eva Hesse exhibition in 2002. She says she still responds to the memories of this exhibition and that fragments of those works continue to resonate in her own work today. 

Thinking back to her childhood, she described growing up with a radical hippie 1960s mom and cannot remember a day that “I didn’t know about Gloria Steinem, Dorothy Pitman-Hughes and Ms. Magazine.” Her favorite female authors include Maya Angelou, Joy Harjo, Mary Oliver, bell hooks, Audre Lorde and Sylvia Plath. She says other “badass women” also inform and inspire her life, such as: Ruth Bader Ginsburg, Simone de Beauvoir, Betty Friedan, Angela Davis, Shirley Chisholm, Elizabeth Warren, Kamala Harris and Michelle Obama. 

Cole has placed work in the permanent collections of The Triton Museum of Art, Hilton Hotels, the Microsoft Collection, Stanford University, the MGM Grand in Las Vegas, the Ritz Carlton in Laguna Niguel, the Grand Hyatt in Atlanta, Iberia Bank in Louisiana, and De Anza College in Cupertino. Her work can be found in the private collections of many patrons including that of Actress Sela Ward and the New York based National Art Buyer for One King’s Lane. She has an extensive exhibition history including New York City’s Asian Cultural Center Gallery and group exhibitions from Seattle, Washington to Metz, France.  

https://www.saravcoleart.com

31 Women – March 23rd: Brigitte McReynolds

31 Women – March 23rd: Brigitte McReynolds

Brigitte McReynolds                       
The Intelligence of Water, 2019
Oil on canvas

Brigitte McReynolds

Brigitte McReynolds

Brigitte McReynolds’ practice is a continuous investigation of abstraction and exploration of the human form. It is her visual diary, a “paper trail” of a process that is both spontaneous and deliberate. Working in layers of paint, she merges luminous color and palpable texture. For McReynolds, painting is a dynamic, intuitive process. A drip or smear reveals part of that process. 

McReynolds works in series that start as a concept in her mind, or as a vision of a finished work. It can also begin as an emotion or process of the heart. When she develops a theme, she explores it in multiple materials: oil, acrylic, and encaustic, working figuratively and abstractly until the idea exhausts itself, or leads to another theme. McReynolds applies what she learns from shape, form and line in her abstract paintings to find the simplicity that is needed for abstracting a figure. Similarly, her abstract work profits from her figurative experience.

Her works often have a recurrent pattern or an illusion of repetition. However, not one shape is the same as the other. Similar to life, where we have days, hours and minutes that create a pattern, yet not a single moment resembles the next. McReynolds explains “Although I enjoy working with the ‘shapelessness’ of stripes I also love to work on abstract paintings that maintain shapes and forms. A shape in a painting is like a figure in a landscape. For me the abstract shapes are alive. They have a heart, an area with vibrant color; intense brush strokes, the limbs.”

When contemplating inspiration, McReynolds finds the mystic works of Hilma af Klint breathtaking and has never forgotten her visit to the Italian Tarot Garden designed by Niki de Saint Phalle. Inspiration also comes to her from women speaking out for justice through the #MeToo movement, and from the work of public figures like Supreme Court Justice Ruth Bader Ginsburg and Senator Nancy Pelosi. McReynolds is most inspired by her mother, whom she describes as a creative, kind, humble and generous woman. She admires her mother’s strength, hard work and devotion in raising McReynolds and her siblings – nine children in total, while she managed her busy restaurant and hotel business.

Brigitte McReynolds is represented by Whitney Modern Gallery, Los Gatos; Pryor Fine Art, Atlanta, GA; Seager Gray Gallery, Mill Valley, CA; Jules Place, Boston, MA; and Eminent Design, Sonoma, CA.

31 Women – March 22nd: Karen Gallagher Iverson

31 Women – March 22nd: Karen Gallagher Iverson

Karen Gallagher Iverson                
Gilded Dunes, Bodega Bay in Crimson, 2019
Pochoir and drawn colored pastel on wax on 3 panels

An Interview with Karen Gallagher Iverson

Karen Gallagher Iverson

MKM: Tell me about your childhood, where did you grow up? Were you always creative?

KGI: I was born in Queens NY, within a very large extended family, mostly based throughout the five boroughs of NYC. We moved upstate to a commuter area when I was a kid. My mom always drew and painted and easily took on most any other creative craft she found interesting. Including her intense knitting habit today. Art supplies, and “the good watercolor paper” were always around and waiting for us kids to make something. I was extremely lucky to attend also a public school district that had a robust arts program. Something I didn’t fully appreciate then, and recognize as being even more significant now that I’m a parent in the Oakland Unified School District. It was easy to be creative when you didn’t have to try too hard to gain access. Both at home and in school. We had a kiln in our elementary school, welding and wood shop in middle school, dark room photography in high school. It’s amazing to look back on it.

MKM: Why did you pursue art?

KGI: At first I didn’t. I wanted to work in scientific illustration as early as the 6th grade, but was advised by my academic counselors that that field was dwindling, and suggested to become a nurse – which is a good field for women after all. That suggestion seemed absolutely ridiculous to me. Looking back I should have been directed toward graphic design. I originally went to college for Archeology and Anthropology, with a minor in Studio Arts (quickly a double major, then a complete switch in major to Studio Arts). My first apartment in my early 20s caught fire and burned down. I realized after fleeing a burning building, after the frenzy of trying to escape, that what I was studying in the ground wasn’t necessarily the truth of life, but was the record of what wasn’t important enough to take when braving the flames of change. You grab whats alive when you flee. In truth (or at least in my truth) the vibrancy of a culture is what lives on with you, and I realized that semester that I wanted to sink into that vision of the world. Visual art served that best.

MKM: Where did you study?

KGI: For my undergraduate degree I went to SUNY Albany, and my MFA was at the San Francisco Art Institute.

MKM: Did you have any memorable teachers at SFAI?

KGI: I consider my undergraduate printmaking instructor, Thom O’Conner to be my first major mentor. At the San Francisco Art Institute my most memorable Instructors were Jeremy Morgan, Tim Berry and Gordon Kluge. Even this year, 17 years after graduating, random remarks by Kluge ring true to some process I’m working on. Usually things that made no sense at the time, even things I whole heartedly rejected, I now think “oh… thats what you were trying to tell me!” From grade school through High School Wendy Feman-Pernice and Peggy Ellis always provided safe places to land. Those early years are so socially awkward for young creatives who haven’t found their voice yet.

MKM: When you’re creating what’s your daily routine? Rituals, patterns?

KGI: A typical Studio Day: My studio is right below my home, so before I go downstairs I make coffee, and I try to take care of some household chore, like start a load of laundry or defrost dinner. Once I enter my studio – I’m on the clock and don’t take care of family things until I return with my kids after school. I guard this time jealously. So much so that I set an alarm to go off at 1pm to remind myself to eat lunch. I turn on my Computer. Assemble my studio planner, studio notebook, process notebook, source material (sketches, print outs, photos, etc.) and I put on some continuous sound in the background – either a series on Netflix that just plays in the back ground, streaming music radio, or even a song on repeat when I’m close to grabbing hold of something and can use the repetition). I look at my notebooks and planner and see either what tasks need to be done today (like melt wax or gesso panels) or where I left off the day before on some imaging task. I keep notes on everything. Colors I mix and use, material ratios, when I begin using a blade in my cutter, exposure times if Im working on a photo print project, even the edit chain in photoshop of my photo source images. I also log random thoughts and ideas that come up while I’m working and keep it with the project at hand. Even when I was a teenager in beginning print classes I had a similar way of working. The way I approach printmaking is very methodical. Not a lot of emotive in the moment romance. I basically design a concept and idea, lay out a plan and get it done. Much of what people consider the ‘in the moment creative expression’ happens for me in my mind, in the way I plan things to layer, through the choices I make along the way, and when I’m drawing into my final layers. 

Karen’s studio

None of this would probably work except I compulsively take photos throughout my day, especially when in family mode adventuring around. I also journal in a notes app on my phone. A few words that catch me, things I’m thinking of, random impressions during the day like “huh this is the 3rd day in a row when the hills look pasty and gray, but its sunny and hot … gray during full daylight” then it later turns into a lithograph series. I also sketch with watercolors regularly. Sometimes just pushing material around because it feels nice. I often print out photos and colors that are catching my eye and just cary them around to look at. Think on whats grabbing my attention and why. 

If I’m playing around with a new series, its a little different. I’m not sure why, but I work better on beginning something new at night or the end of the studio day. Even if its on my phone while getting my kids to sleep, I’ll look though photos and notes and begin to reduce whispers of ideas into concepts, and indulge in what’s visually appealing to me. Its important to me to tie materials and processes to the overall content of the work and how I can filter concepts through media; whats gained or lost by it. I also will keep the remnants of my art making if they catch my eye. Sometimes i’ll like the visual quality and years later it will show up in a completely unrelated project. That’s how I arrived at my current encaustic landscapes. It was a random out take from work I did back in 2005 with carbon paper. I harvest all those bits and later use them as seeds. Once I settle on those basic components – I make a plan then get to work in the coming weeks. 

MKM: How has your practice changed over time?

KGI: My process is very much linked to my innate personality. Many things have always been here. I was 12 or 13 when I started collecting compelling (to me) images in sketch books. Something I basically still do, only now digitally. I always enjoyed collaging and working with photo source material. Integrating some poetic thought process into my concepts has remained the same. Albeit it was more illustrative when I was young, and more about finding universal themes now. I now have a more interconnected way of working. Perhaps a more holistic way of living within my studio practice. One significant area where I differ is with time management, that changed completely once I had children. I’m more targeted and less wasteful with my days.

MKM: Do you focus on a specific medium or combination of mediums? Which creative medium would you love to pursue but haven’t yet?

KGI: Integrating some aspect of printmaking as a process is integral to my practice. Once I realized it could take me where I wanted to go, I didn’t really falter from print. Although, as a medium it really can incorporate a whole host of other mediums. Painterly approaches, line drawing, photography, sculptural cuts, even all the new maker technology dovetails perfectly with printmaking. Hmm, maybe I picked printmaking for its position as a middle ground? I’ve not worked much with wood, either wood cuts, wood type, mokulito (wood lithography).  I’m not sure why. I’ve been looking in that direction lately. I’ve also never made an artists book. I can’t easily wrap my head around it, but keep thinking it could really be a great format to experiment in. 

MKM: What themes do you pursue?

KGI: The common theme in most of my current work can be reduced to catching, or translating, light and dimension though pattern. It’s been really wild to see just how endlessly I can play and recombine these basic elements across all the different materials and processes at my disposal. 

(Detail) Gilded Dunes, Bodega Bay in Crimson, 2019

MKM: What is your most important tool? Is there something you can’t live without in your studio?

KGI: Probably my computer. So much of what I do is touched by it. If we entered into a period of global black out, I’m sure I’d figure something else out, but at the moment, I think its a common tool within everything I do. 

MKM: Is there an artwork you are most proud of? Why?

KGI: Probably my Variable Horizons work. Its my largest work to date, at 2 ft by 12 ft long, which is a considerable large work for encaustic. It took roughly 4 to 5 weeks of continuous daily work, and I was 7 months pregnant with a 3 year old up in the house. The sheer size and time was an endeavor. But, it’s also the only work I’ve ever made in response to the death of my infant son, about 9 years ago. I was invited to create a work in response to a theme, Corporeal Chronologies. The organizer of the show was familiar with earlier work of mine that was very body focused, he didn’t know that I was working pretty exclusively with landscape imagery. It was a wonderful way to incorporate my current work with such a delicate concept. One that could easily turn dark and abrasive. I was pleased with the way place, and life and grief through time came together in that work. 

MKM: What has been a seminal experience?

KGI: For sure becoming a parent, is a major event to most. Since my first baby died as a newborn, I’d say that was a seminal an experience for me, on many levels. It was a reset professionally. I was printing and making art, teaching, and I had been working as a studio manager for an artist of international acclaim.  When my son passed away, it all stopped. I stopped making art, I stopped teaching, and I never returned to a full time day job after that. It also opened the world back up to me in a bizarrely fresh way. My role in the world was completely severed and rebuilt from scratch. I was able to grow my studio practice back into my daily life in a way I never was able to do before. 

MKM: What art do you most identify with?

KGI: Abstraction and conceptual. People often think I’ll be drawn to representational imagery since I currently work with recognizable landscapes. I find more affinity with the poetic exploration in conceptual work and abstraction. 

MKM: What inspires you? Other artists, other women from history, your process, a theme?

KGI: Sudden shifts in light. Driving down a road and having the light flip suddenly. 

MKM: Do you have a sense of connection to a particular woman artist from art history?

KGI: Louise Bourgeois. Everything I’ve read on her points to a person of skill, whose tenacity and prolific activity slowly erodes at the life she’s built into. Ultimately really great work is able to  emerge.  

MKM: Is there a specific work from Louise Bourgeois that you find interesting? 

KGI: Her drawings and drypoint etchings. They could easily be overlooked. With the volume of them that exist, they demand to be looked at, given attention. And when you do, all the exquisite subtlety and conceptual interconnectedness comes to light and you cant unsee it.

MKM: Who are your female role models from history or present day?

KGI: Agnes Martin. The rejection of it all. I never see her work as an exploration or justification of gender. I never saw her career as an avenue to fame or celebrity. It was just honest, beautiful art work; and work that was able to rise with success in a very male art world. 

MKM: What’s the best piece of advice you’ve been given?

KGI: There have been two that continually inspire, and seem to work for any occasion. When I was working on a print edition with Kay Bradner, she let out “Reckless Abandon!” At the time she said it when using an enormous c-clamp to crack walnuts, because that’s what was handy on her kitchen table. But I find, when used responsibly, it’s often the right rallying cry to make. Plus, it’s good to make do some times without over thinking. The other is “You can boss me around as long as you boss me to victory” a friend exclaimed when given unsolicited advice during a card game. Nothing wrong with taking direction if it helps get you where you want to go. Also, a reminder about remaining humble. Is what I want to suggest really going to bring someone further to their victory? Or, maybe an off-putting remark I received needs to be let go of, because it was never going to serve my initiatives generously.

MKM: What is your dream project? What can we expect from you in the next year?

KGI: My dream? I want to make gigantic  wall sized landscape watercolors with hand painted photo halftones. Like, really big. “Only wall big enough is in the de Young” big. Thats a bit far out there. I’m already starting on large watercolors, but not that big yet. They take forever and have zero room for forgiveness. I’m planning to work more on paper this year. Both press work and hand painted work. More seascapes, too.

Karen’s studio

https://www.gallagheriverson.com