Bigindicator

Kristin Doner

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20110815160516-morning_star_bouquet
Morning Star Bouquet, 2010 Scanned Fingerprints 30 X 16 © Kristin Doner
20110815161119-twilight_blossom_bouquet
Twilight Blossom Bouquet, 2010 Scanned Fingerprints 30 X 16 © Kristin Doner
20110815161258-midnight_blossom_bouquet
Midnight Blossom Bouquet, 2010 Scanned Fingerprints 30 X 16 © Kristin Doner
20130117000656-kdoner_wabisabi_ikebana
Wabai-Sabi Ikebana, 2012 Fingerprints Captured on a Scanner 38x25 © Kristin Doenr
20130117000921-kdoner_wi_study_5
WI Study #5, 2012 Fingerprints Captured on a Scanner 10x10 © Kristin Doner
20130117001038-kdoner_wi_study_29
WI Study #29, 2012 Fingerprints Captured on a Scanner 10x10 © Kristin Doner
20110815161954-kristin_doner
Quick Facts
Lives in
Oakland, CA
Works in
Berkeley, CA
Schools
Mills College, 2008, BA
Tags
decorative art digital abstract, gestural, figurative painting, digital, abstract, figurative
Statement

Something From Nothing

Something made from nothing is like magic for me. Turning unwanted snarls of wire into jewelry and discarded knots of wood into sculpture are more than fond memories from childhood. For me it provides a foundation for working which involves a process of discovery through exploring materials, processes, and my own subconscious. 

One place I found nothing is at the intersection of art and technology, using hand movements captured on a scanner. The scanner records an artifact of my movement in a scan. From the scan, I manipulate organic lines and shapes often working with the dark spaces between my fingers. For instance, I used the thin straight space between my pressed fingers to create my dandelion motif.

I consider my painting something from nothing because I try to work from a place of "no thought." My intention when working this way is to let go of ideas and to simply respond (to anything), letting my subconscious reveal itself. The figures I paint can be seen as many things, but I try not to define them; I’d rather they remain nothing.

Some parallels between my current bodies of work, digital assemblage and analog painting, reveal shared palettes as well as  explorations of a figure relating to an environment. With my digital work, I rely on my eye to discover the familiar patterns of nature, and my skill with the computer to help it evolve. My painting work, on the other hand, relies on familiar movements while letting go of thought and eliminating judgment. The two bodies of work come from different methods, but discuss the same issues visually... color, form/figure, and a sense of place.

Additional Information