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3 4 2 Finsihed-1 7 5 W_tw-kkelley3 W_tw-kkelley1 W_tw-kkelley2
'rak'rüm (noun);
the back room of an art gallery
where artists and art lovers hang
Nipple
title unresolved (but i do know the piece is about the uncontrollable nature of grief), Kathy KelleyKathy Kelley,
title unresolved (but i do know the piece is about the uncontrollable nature of grief),
2010, installed at I-Park, Remnant tire tubes, baling wire, rebar, ~40' x 8' diameter at mouth x 2.5' diameter at tree tops, ~ 600 pds
© kkelley
title unresolved (but i do know the piece is about the uncontrollable nature of grief), Kathy KelleyKathy Kelley,
title unresolved (but i do know the piece is about the uncontrollable nature of grief),
2010, installed at I-Park, Remnant tire tubes, baling wire, rebar, ~40' x 8' diameter at mouth x 2.5' diameter at tree tops, ~ 600 pds
© kkelley
title unresolved (but i do know the piece is about the uncontrollable nature of grief) , Kathy KelleyKathy Kelley,
title unresolved (but i do know the piece is about the uncontrollable nature of grief) ,
2010, installed at I-Park, Remnant tire tubes, baling wire, rebar, ~40' x 8' diameter at mouth x 2.5' diameter at tree tops, ~ 600 pds
© kkelley
title unresolved (but i do know the piece is about the uncontrollable nature of grief), Kathy KelleyKathy Kelley,
title unresolved (but i do know the piece is about the uncontrollable nature of grief),
2010, installed at I-Park, Remnant tire tubes, baling wire, rebar, ~40' x 8' diameter at mouth x 2.5' diameter at tree tops, ~ 600 pds
© kkelley
title unresolved (but i do know the piece is about the uncontrollable nature of grief), Kathy KelleyKathy Kelley,
title unresolved (but i do know the piece is about the uncontrollable nature of grief),
2010, installed at I-Park, Remnant tire tubes, baling wire, rebar, ~40' x 8' diameter at mouth x 2.5' diameter at tree tops, ~ 600 pds
© kkelley
title unresolved (but i do know the piece is about the uncontrollable nature of grief), Kathy KelleyKathy Kelley,
title unresolved (but i do know the piece is about the uncontrollable nature of grief),
2010, installed at I-Park, Remnant tire tubes, baling wire, rebar, ~40' x 8' diameter at mouth x 2.5' diameter at tree tops, ~ 600 pds
© kkelley
when i shut up love the door bangs closed i pound and scrape my fingers bloody with prying but without love without hope tightly shut it remains i smell the void the vacancy   the remotest parting and i find my lips part as they press to the frame to dri, Kathy KelleyKathy Kelley,
when i shut up love the door bangs closed i pound and scrape my fingers bloody with prying but without love without hope tightly shut it remains i smell the void the vacancy   the remotest parting and i find my lips part as they press to the frame to dri,
2010, remnant urban refuse, 18' x 10' x 6'
© kkelley
as the ache swells in me there is a splintering at the horizon of today fragments of yesterday and tomorrow   and i listen at this abyss as the beyond beckons me with its urgency and passion   i open my splintered self to it and it whisper, Kathy KelleyKathy Kelley,
as the ache swells in me there is a splintering at the horizon of today fragments of yesterday and tomorrow   and i listen at this abyss as the beyond beckons me with its urgency and passion   i open my splintered self to it and it whisper,
2010, remnant urban refuse, 14' x 10' x 4'
© kkelley
i breathe   i could no longer stay self sequestered there in the tower of my making   there is no good way to destroy one\'s own tower while remaining inside there is no good way to get down without help   no one came   i crumbled the tower of my makin, Kathy KelleyKathy Kelley,
i breathe   i could no longer stay self sequestered there in the tower of my making   there is no good way to destroy one's own tower while remaining inside there is no good way to get down without help   no one came   i crumbled the tower of my makin,
2010, remnant urban refuse, 10' x 10' x 10'
© kkelley
in the space of absence, Kathy KelleyKathy Kelley, in the space of absence,
2008, remnant foam, baling wire, 9' x 2' each (25 units)
© Kathy Kelley
clawing for eden [series: suckling is continuous but no longer functional], Kathy KelleyKathy Kelley,
clawing for eden [series: suckling is continuous but no longer functional],
2007, remnant tubes, balin wire, 6' x 9' x 5'
© kkelley
suckling is continuous but no longer functional, Kathy KelleyKathy Kelley,
suckling is continuous but no longer functional,
2008, remnant tires, tubes, balin wire, rebar, 12', 8', 6' in diameter
© kkelley
suckling is continuous but no longer functional, Kathy KelleyKathy Kelley,
suckling is continuous but no longer functional,
2007, remnant tubes, balin wire, 3' x 3' x 3'
© kkelley
when vision and delusion are no longer distinguishable (suckling series),
when vision and delusion are no longer distinguishable (suckling series),
2007, remnant tires, tubes, balin wire, 3' x 3' each
© JR Compton of Dallas Art Revue
Wish and will depart, urge and impulse infiltrate—my being or lack there of [suckling series], Kathy KelleyKathy Kelley,
Wish and will depart, urge and impulse infiltrate—my being or lack there of [suckling series],
2007, remnant tubes, balin wire, 6' x 9' x 2'
© kkelley
grr. [suckling is continuous but no longer functional series], Kathy KelleyKathy Kelley,
grr. [suckling is continuous but no longer functional series],
2008 in process, remnant tubes, balin wire, 8' x 9' x 3'
© kkelley
gulping [suckling is continuous but no longer functional series], Kathy KelleyKathy Kelley,
gulping [suckling is continuous but no longer functional series],
2008 in process, remnant tubes, balin wire, 7' x 9' x 3'
© kkelley
When artists are sheep [suckling is continuous but no longer functional series], Kathy KelleyKathy Kelley,
When artists are sheep [suckling is continuous but no longer functional series],
2007, remnant tubes, balin wire, 6' x 9' x 2'
© kkelley
Stacked: An exercise in restraint, Kathy KelleyKathy Kelley, Stacked: An exercise in restraint,
2007, remnant tubes, 3' x 3'
© kkelley
what is it that i have that i was not given? [suckling is continuous but no longer functional series] , Kathy KelleyKathy Kelley,
what is it that i have that i was not given? [suckling is continuous but no longer functional series] ,
2007, remnant tubes, balin wire, 6' x 9' x 6'
© kkelley
suckling is continuous but no longer functional artifacts, Kathy KelleyKathy Kelley,
suckling is continuous but no longer functional artifacts,
2008, remnant tires, tubes, balin wire, varies (each nipple/orifice is ~3' in diameter, 64 nipple/orifices)
© kkelley
The birth of destruction lies within our strength; every tool becomes a weapon when held just right., Kathy KelleyKathy Kelley,
The birth of destruction lies within our strength; every tool becomes a weapon when held just right.,
2008, remnant tire sidewalls, baling wire, 6' diameter
© kkelley
piece in process for cohesive discord, Kathy KelleyKathy Kelley,
piece in process for cohesive discord,
week 1, found window, frame and support understructure rings, ~9 x 3 x 6
© kkelley
piece in process for cohesive discord, Kathy KelleyKathy Kelley,
piece in process for cohesive discord,
week 2, found windows, tubes, thread, etc, ~9 x 6 x 6'
© kkelley
piece in process for cohesive discord, Kathy KelleyKathy Kelley,
piece in process for cohesive discord,
week 3, stuff, ~9 x 6 x 6'
© kkelley
piece in process for cohesive discord DETAIL of a portion of the belly, Kathy KelleyKathy Kelley,
piece in process for cohesive discord DETAIL of a portion of the belly,
week 3, stuff, ~9 x 6 x 6'
© kkelley
piece in process for cohesive discord DETAIL of a portion of its innereds, Kathy KelleyKathy Kelley,
piece in process for cohesive discord DETAIL of a portion of its innereds,
week 3, stuff, ~9 x 6 x 6'
© kkelley
Gnawing Hunger, Kathy Kelley (video by Michael HendersonKathy Kelley (video by Michael Henderson,
Gnawing Hunger,
June 2008, Remnant tubes, baling wire, thread, video, ~3' x 3' x 3' each
© Kathy Kelley
...once unthinkable [blatant disregard], Kathy Kelley [responsive piece to work with Whitney Riley]Kathy Kelley [responsive piece to work with Whitney Riley],
...once unthinkable [blatant disregard],
June 2008, Remnant tubes, baling wire, thread, windows, ~9' x 6' x 6' (~400 lbs)
© kkelley
treading where no one hears the echoes of my footfall, Kathy KelleyKathy Kelley,
treading where no one hears the echoes of my footfall,
2009, remnant tubes, baling wire, 12' x 7' x 7'
© kkelley
v7, Kathy KelleyKathy Kelley, v7,
June 2008, Remnant foam, baling wire, ~12" x 3" each unit
© kkelley
The Eater, Kathy Kelley, Elaine Bradford, Mat WolffKathy Kelley, Elaine Bradford, Mat Wolff,
The Eater,
June 2008, Remnant tubes, crochet artifacts, teeter totter, ~9' tall x a lot.
© crystal
The Eater, Kathy Kelley, Mat Wolff, Elaine BradfordKathy Kelley, Mat Wolff, Elaine Bradford,
The Eater,
June 2008, Remnant tubes, crochet artifacts, teeter totter, ~9' tall x a lot.
© crystal b
in the space of absence :: unrestrained lust, Kathy KelleyKathy Kelley,
in the space of absence :: unrestrained lust,
september 2008, remnant tire tube liners, cinder blocks, 7' x 9' x 6'
© kkelley
in the space of absence :: treading where no one hears the echoes of my footfall, Kathy KelleyKathy Kelley,
in the space of absence :: treading where no one hears the echoes of my footfall,
2009, remnant tubes, 12' x 7' x 7' and so heavy it takes 6 men and one chica to move
© kkelley
in the space of absence :: i obliterated that which i love, Kathy KelleyKathy Kelley,
in the space of absence :: i obliterated that which i love,
2009, remnant tube pads, ~9' x 6' x 6' and heavy as all get out
© kkelley
in the space of absence :: the fracture between us yawns as a cavern so wide i close my eyes to feel the bruise of soul, Kathy KelleyKathy Kelley,
in the space of absence :: the fracture between us yawns as a cavern so wide i close my eyes to feel the bruise of soul,
2009, remnant tubes, wood, cinder blocks, varies 16' x 9'
© kkelley
in the space of absence :: i lied, i lied again and i no longer know how to come home, Kathy KelleyKathy Kelley,
in the space of absence :: i lied, i lied again and i no longer know how to come home,
2009, remnant tubes, baling wire, fluff, cinder blocks on steel frame, varies, 18' x 12' x 6'
© kkelley
in the space of absence :: my own lies swallow me, Kathy KelleyKathy Kelley,
in the space of absence :: my own lies swallow me,
2009, remnant tubes, envelopes, cinderblocks, baling wire, 9' x 7' x 4'
© kkelley
in the space of absence :: i obliterated that which i love, Kathy KelleyKathy Kelley,
in the space of absence :: i obliterated that which i love,
2009, remnant tubes, wood, cinder blocks, 12' x 7' x 7' and so heavy it takes 6 men and one chica to move
© kkelley
what is it that i have that i was not given, Kathy KelleyKathy Kelley,
what is it that i have that i was not given,
2007, remnant tubes, wood, cinder blocks, baling wire, 9' x 6' x 3'
© kkelley
in the space of absence :: the fracture between us yawns as a cavern so wide i close my eyes to feel the bruise of soul, Kathy KelleyKathy Kelley,
in the space of absence :: the fracture between us yawns as a cavern so wide i close my eyes to feel the bruise of soul,
2009, remnant tubes, wood, cinder blocks, varies 16' x 9'
in the space of absence :: i lied, i lied again and i no longer know how to come home, Kathy KelleyKathy Kelley,
in the space of absence :: i lied, i lied again and i no longer know how to come home,
2009, remnant tubes, baling wire, fluff, cinder blocks on steel frame, varies, 18' x 12' x 6'
© kkelley
in the space of absence :: my own lies swallow me, Kathy KelleyKathy Kelley,
in the space of absence :: my own lies swallow me,
2008, remnant tubes, wood, cinder blocks, baling wire, 9' x 7' x 4'
© kkelley
untitled as of yet, Kathy KelleyKathy Kelley, untitled as of yet,
2009, remnant tires, tubes, baling wire, 2.5l d x 5' h
© kkelley
 untitled as of yet (2 of 5), Kathy KelleyKathy Kelley, untitled as of yet (2 of 5),
2009, remnant tires and tubes, baling wire
© kkelley
, Kathy KelleyKathy Kelley
, Kathy KelleyKathy Kelley
, Kathy KelleyKathy Kelley
, Kathy KelleyKathy Kelley
, Kathy KelleyKathy Kelley
, Kathy KelleyKathy Kelley
, Kathy KelleyKathy Kelley
, Kathy KelleyKathy Kelley
betrayal is not so far away, Kathy KelleyKathy Kelley, betrayal is not so far away
, Kathy KelleyKathy Kelley
, Kathy KelleyKathy Kelley
, Kathy KelleyKathy Kelley
, Kathy KelleyKathy Kelley
the fear was hidden behind...(5 masks), Kathy KelleyKathy Kelley,
the fear was hidden behind...(5 masks),
2009, remnant tires, tubes, baling wire, stands, 3' x 3' x 6'
© kkelley
i whisper into the silence; now as i did then; it is unbearable in its volume, Kathy KelleyKathy Kelley,
i whisper into the silence; now as i did then; it is unbearable in its volume,
2009, remnant tubes, baling wire, stuffing on wood frame, 8' x 8' x 10'
© kkelley
they cling; they live inside me; they stay; they repeat as infinite do-loops; they become my own voice; they tell me who i am; they tell me what i have done; they tell me i am the destroyer; they tell me i will be destroyed; there is no hope in these word, Kathy KelleyKathy Kelley,
they cling; they live inside me; they stay; they repeat as infinite do-loops; they become my own voice; they tell me who i am; they tell me what i have done; they tell me i am the destroyer; they tell me i will be destroyed; there is no hope in these word,
2009, remnant tubes, baling wire, rebar, cinder blocks, chair, belts, various mallets, varies
© kkelley
they cling; they live inside me; they stay; they repeat as infinite do-loops; they become my own voice; they tell me who i am; they tell me what i have done; they tell me i am the destroyer; they tell me i will be destroyed; there is no hope in these word, Kathy KelleyKathy Kelley,
they cling; they live inside me; they stay; they repeat as infinite do-loops; they become my own voice; they tell me who i am; they tell me what i have done; they tell me i am the destroyer; they tell me i will be destroyed; there is no hope in these word,
2009, remnant tubes, baling wire, rebar, cinder blocks, chair, belts, various mallets, varies
© kkelley
they cling; they live inside me; they stay; they repeat as infinite do-loops; they become my own voice; they tell me who i am; they tell me what i have done; they tell me i am the destroyer; they tell me i will be destroyed; there is no hope in these word, Kathy KelleyKathy Kelley,
they cling; they live inside me; they stay; they repeat as infinite do-loops; they become my own voice; they tell me who i am; they tell me what i have done; they tell me i am the destroyer; they tell me i will be destroyed; there is no hope in these word,
2009, remnant tubes, baling wire, rebar, cinder blocks, chair, belts, various mallets, varies
© kkelley
i could not stop, Kathy KelleyKathy Kelley, i could not stop,
2009, remnant tubes, rebar, baling wire, on steel frame, 10' x 3' x 2'
© kkelley
i obliterated that which i love, Kathy KelleyKathy Kelley, i obliterated that which i love,
2009, remnant tube liners on wood frame, 8' x 4' x 4'
© kkelley
they cling; they live inside me; they stay; they repeat as infinite do-loops; they become my own voice; they tell me who i am; they tell me what i have done; they tell me i am the destroyer; they tell me i will be destroyed; there is no hope in these word, Kathy KelleyKathy Kelley,
they cling; they live inside me; they stay; they repeat as infinite do-loops; they become my own voice; they tell me who i am; they tell me what i have done; they tell me i am the destroyer; they tell me i will be destroyed; there is no hope in these word,
2009, mixed, varies
© kkelley
Kathy Kelley,
i breathe (or at least i try) :: without voice, there is not revolution.,
2009, remnant tubes, baling wire, cinder blocks, 10' x 8' x 8'
© kkelley
i breathe (or at least i try) :: without voice, there is not revolution. , Kathy KelleyKathy Kelley,
i breathe (or at least i try) :: without voice, there is not revolution.

i breathe (or at least i try) :: without voice, there is not revolution. a, Kathy KelleyKathy Kelley,
i breathe (or at least i try) :: without voice, there is not revolution. a,
2009, remnant tubes, baling wire, cinder blocks, 10' x 8' x 8'
© kkelley
i breathe (or at least i try) :: the wake of memory closes behind me; my mind has always worked that way; the reality of you muddies as it drains from the steel sieve of my recall and drip, drips away sadly sliding down the drain of all soon to be forgott, Kathy KelleyKathy Kelley,
i breathe (or at least i try) :: the wake of memory closes behind me; my mind has always worked that way; the reality of you muddies as it drains from the steel sieve of my recall and drip, drips away sadly sliding down the drain of all soon to be forgott,
2009, remnant tubes, baling wire, cinder blocks, 10' x 8' x 8'
i breathe (or at least i try) :: the fracture between us yawns as a cavern so wide, i feel the bruise of soul, Kathy KelleyKathy Kelley,
i breathe (or at least i try) :: the fracture between us yawns as a cavern so wide, i feel the bruise of soul,
2008., remnant tubes, baling wire, 10' x 6' x 3'
i breathe (or at least i try) ::  i thought my feet would have thickened, and my heart would have become calloused to it—the hardening, thickening never came; yet, i could not stop the breaking, Kathy KelleyKathy Kelley,
i breathe (or at least i try) :: i thought my feet would have thickened, and my heart would have become calloused to it—the hardening, thickening never came; yet, i could not stop the breaking,
2009, remnant tubes, baling wire, cinder blocks, 10' x 5' x 4'
betrayal is not so far away, Kathy KelleyKathy Kelley, betrayal is not so far away,
2010, remnant urban refuse, 12' x 6' x 3'
without your forgiveness..., Kathy KelleyKathy Kelley, without your forgiveness...,
2010, remnant urban refuse, 12' x 6' x 3'
betrayal is not so far away, Kathy KelleyKathy Kelley, betrayal is not so far away,
2010
as the ache swells in me there is a splintering...(detail), Kathy KelleyKathy Kelley,
as the ache swells in me there is a splintering...(detail),
2010
, Kathy KelleyKathy Kelley
I have fallen into a void where there is no individuality, no unique private world, no authorship or originality. I find myself not in utopia but dystopia. There is no space; there is no silence. All inventions have been invented and recombination replaces creation. I ...[more]


RackRoom
Interview with Kathy Kelley

Kathy Kelley, a graduate of University of Houston (MFA - 2006), creates large-scale sculpture via found objects.  Drawing from such sources as Eva Hesse and Louise Bourgeois, Kelley forges a visual discourse that touches upon feminism, environmentalism and process-oriented concerns.  Based in Houston, TX, Kelley is currently involved with a new project, Box 13 Artspace, a non-profit artist collective, as well as preparing for upcoming shows - Cohesive Discord at Houston Art Alliance and Suckling is Continuous but No Longer Functional at Lawndale Art Center.

The ArtSlant Team corresponded with Kathy regarding her process, her vision and her passion for making...

Kathy Kelley (publicity shot for ArtsHouston); Courtesy of Kara Duval


ArtSlant:  Kathy - what is your earliest memory of artmaking?

Kathy Kelley, images # 5, 4, 1 from "suckling is continuous but no longer functional" series, 2007-08, mixed media; Courtesy of the artist


Kathy Kelley:  My earliest memory of art making is from about third grade were I would furtively draw naked people on little sheets of rectangular cardboard (taken from the packaging containing my dad's new dress shirts). For the most part I set aside these impulses for people watching and drawing until three years ago when, as part of my MFA program in graphic design, I was required to take related arts courses. So I plopped my self down in a figure drawing class-no command z (no infinite undos). A little spark ignited during this period-the beginning of a passion I had not ever experienced.

I continued taking related arts classes in conjunction with contemporary art history courses.  I discovered a certain permission to make bad art, which needless to say, I did. This social and self permission to make bad art generated a pile of work, to the horror of my design professors, but most importantly this making led to a raging fire of passion which scared the shit out of me. Fortunately my bad making began to merge with my design research into language, culture, psychology and my own decay. Within this merging I began producing large scale, raw, works from urban refuse, urban decay. My bad art evolved in to something people began caressing/fondling even when presented in a gallery space. The work grew in its raw visceral appeal both to myself and others.

Kathy Kelley, Image #5; Courtesy of the Artist


AS:  Who do you name among your influences?

KK:  Eva Hesse, Louise Bourgeois, Lee Bontecou, Robert Morris, Richard Serra, Robert Rauschenberg, Jean Baudrillard, Mother Teresa.

AS:  Describe your work in 5 words.

KK:  Raw, Feminine, Humanizing, Decay, Refuse.

AS:  What inspires you?

KK:  I hide my own culpability in consumer whoring. Yet my collecting, harvesting, and acquiring has been redirected to objects of decay found along the street side. I am drawn to the symbolic and formal elements of decay, the way in which an object has been altered by its mere existence. The worn, broken, torn nature of the aged object seems to make it more real, more honest. So I collect decayed urban refuse. I hold onto it for awhile. Cogitate. Eventually the formal and symbolic elements of the materials and my current research meld. Then I make.

The making is a visceral reaction against the cult of the instant, the new, the forever young, forever fertile with its pushed up breast and swollen lips, a reaction against perpetual numbness, defense mechanisms of self enclosure. Cognitively, emotionally, I am a full participant in our capital culture. But I find myself making, assembling, revaluing objects of refuse, moving from spectation toward production, not mechanized but sensualized by the hand, by my hand. Mind and body working in rebellion, in synch; the nonsense and sense merge as coherent objects. The sculptural constructs become a stand in for the shadow self, an empty self.

Image #1; courtesy of J.R. Compton of the Dallas Art Revue.


AS:  What are you currently working on?

KK:  My current work  is composed of a series of visual explorations toying with the ideas of continuous consumption, the stunting of growth via unending wanting, the never ending suckling of consumer goods without fulfillment, in conjunction with some of Melanie Klein's object relations theory on personality development, envy and gratitude or lack thereof, her referencing of the experience of breast feeding as being determinant in much about who a person becomes (old theory coming on the heals of Freud but interesting). The work is a visceral response to this dissection of the incessant wanting of consumer culture on the self with each element becoming referential of the shadow self.

I am currently working on a series of 6' by 9' black paintings created by deconstructing used remnants of inner tubes (decayed urban refuse) and sewing them into new abstracted nipple/orifice-like forms via baling wire. These pieces are being developed as part of an Emerging Artists Houston Arts Alliance grant.

A second manifestation of these ideas are expressed in a forest of free standing and/or suspended empty womb/vagina/pod/carcass-like objects that the viewer may walk among, be engulfed by/embedded in. These are made from found industrial foam harvested from the street side.

I am also currently working on a show with Cohesive Discord, a collaborative project blending process, medium and ego of the recently formed nonprofit space known as BOX 13 ArtSpace. The exciting element to this exhibition is its collaborative nature. The project takes a group of artists that are independently producing strong work and blends them together to produce the unexpected, the unsettling.  It allows for an alternate slant, dislodges wrong assumptions, moves us outside of our proverbial BOX.

Courtesy of Kara Duval


AS:  What does a day-in-the-life look like in your studio?

KK:  Writing. Making. Sweating. Lifting. Being horribly dirty.

AS:  Your work seems very materially informed.  Can you expound a bit with regard to your choices in materials.

KK:  I am viscerally attracted to specific objects of decay-specifically urban decay in large quantities, blown out tires, tubes, elements thrown out during renovations, rebar and rabble torn from bridges/highways as they are being removed, etc. I find myself craving these objects embedded with rust, nonfunctionality, naturally generated surface textures, the older the better, and specifically objects bound for the urban waste stream. The decay represents a natural system that most things/organisms go through, yet my culture (USA) makes every attempt to deny this, both in our man made environments as well as in our own bodies. We are obsessed with the new (young). Yet decay bares witness to a life lived. So I use these objects as a reaction against the cult of new and the consumer culture. Furthermore it appeals to me to take something that is discarded, urban detritus, harvest it, reuse it, redeem it, revalue it ...YET fundamentally it is as I originally said -- a visceral reaction, a gnawing need for certain objects.

I harvest these materials from along the side of the freeway, in front of homes on big trash pickup day, demolition sites, dumpsters, construction sites, industrial waste (hopefully nontoxic). For the most part I acquire materials locally but will drive to harvest materials. ie I drove from Houston, my home, to New Orleans after the hurricanes Katrina and Rita to harvest window and door frames and door knobs and hinges bound for the landfill. More recently I drove to Oklahoma to acquire trash combine and tractor tubes.

One of the great things about harvesting materials out of the urban waste stream is that if I really do make bad art, I can just re-inject it into the waste stream guilt free, plus the materials are free.

AS:  We would love to hear about those magic moments - those things that make it worthwhile...

KK:  Magic moments in my art making are when I am on a roll and have been stitching inner tubes with my face slick with sweat and grime for hours on end-nothing is more satisfying. I am definitely process oriented and the actual making keeps me coming back to my studio day after day.

When I am finished with a work the ahaa moments come when I witness people sneaking a feel/grope/fondle of my work whether in a gallery space or my studio. It is especially pleasurable when people who know better do this.

AS:  Thanks so much Kathy!  We can't wait to see what comes next with you.  As a last question, we like to ask:  What do you dig?  What do you don't?

KK: Dig: production.  Make, write, make, write, make, make, make. Don't: spectation.  This can be difficult because attending openings, art events and lectures are an important part, or the business networking side, of being an artist. So I am working on my social skills, my spectation skills.


ArtSlant would like to thank Kathy Kelley for her assistance in making this interview possible.

- ArtSlant Team

FORMER RACKROOMERS

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