Sunday, November 18, 2012

Waas Gallery Limbo opening

Had a great time at the opening of Limbo at Waas Gallery in Dallas, TX, curated by Aja Martin. A wonderful show full of talented folks. I just got a couple shots of my install - be sure to check out the other artists!

Francesca Bifulcods
Kristen Cochran
Melissa Dickenson
Barrett Emke
Annie Farrar
Abigail Mayfield
Caroline Oliver
Jon Revett

post opening Waffle House devistation

Take Me Higher and a surprised Chris

Ahbwak and Tribute Series: Porkchop Aspriations

Tribute Series: Morning After & I'm Proud of You Too. My work was in this little alcove—a perfectly quirky space for it!

Waas mission control


the building was literally buzzing from the crowd & DJ inside



Tuesday, November 13, 2012

Kathryn Van Steenhuyse: Raw Painting at the Iowa Hall Gallery

Come On In, acrylic and marker on canvas, 66"x59", 2012
I'm pleased to announce my current solo show at Kirkwood Community College's Iowa Hall Gallery! The show will be up through December 7th & features all new large-scale paintings as well as some drawings and smaller pieces. 


The pieces in this exhibition use painting as structure. The unstretched raw canvases warp and wrinkle based on how they are made—putting the process of becoming as much on display as the finished works. They balance between painting and sculpture in an effort to keep the viewer constantly questioning, thoughtfully present, and even possibly a bit uncomfortable.

The exhibit is on display in the Iowa Hall Gallery through December 7. Admission is free to the public. The gallery is open Monday, Wednesday and Friday from 2-4 p.m. and Tuesday and Thursday from 10 a.m.-12 p.m. and 3-5 p.m. A reception for Van Steenhuyse is on Thursday, December 6, at 11 a.m.
Ryan puts the finishing touches on Just Breathe Through It and a few drawings at the Iowa Hall Gallery



Thursday, May 03, 2012

Immaculate Canvas installation snapshots

Show entrance with Work It, mixed media on canvas, 2011
installation view: (L-R) Tribute Series pieces on shelves; Shineela; Shakayla—Yeah, Yeah, Yeah!

CeeGee!, acrylic & spray paint on linen, 4.75"x4.5", 2009 and
We Can Take It Slow, mixed media on canvas,  60"x72", 2012
Without a Doubt, acrylic & ink on canvas, 50" x 51", 2012

wall of drawings, 2010-2012

Porkchop Aspirations (Tribute Series), mixed media on canvas,  7"x8.5", 2012


Thank You, darling, mixed media on canvas, 4"x7.5", 2010Steppin' Out, mixed media on canvas, 8"x7", 2012
Oh, Calm Down. mixed media on canvas, 11.25"x7.5"x6", 2012(all from the Tribute Series)


Yes, But Try to Not..., mixed media on canvas, 80"x48", 2012
HutceeKa, mixed media on linen, 32"x33", 2011
You Know the Way,
mixed media on canvas, 28"x35", 2011

Friday, April 20, 2012

Immaculate Canvas Opening

pianist Adam Marks, artist Kate Van Steenhuyse, vocalist Jennifer Beattie

Thank you to all who came out to celebrate the opening of Immaculate Canvas and to see the first *asterICT performers, Jen Beattie & Adam Marks. We had a wonderful event—thank you for your support.

If you missed us at the opening, the gallery will be open next weekend for the Final Friday gallery crawl. Stop by & see us!
NakedCity Gallery, 121 N Mead between Douglas & 1st Street

more images coming soon!
NakedCity Gallery Manager Lindsey Herkommer;  Work It, mixed media on canvas, 2011;  Kate Van Steenhuyse 






Tuesday, April 03, 2012

exhibitions, performances, essays...


For the current issue of
NakedCity magazine, Lindsey Herkommer has written an insightful, thoughtful, and down-to-earth essay about my new work. 

Please join us this Friday, April 6th for the opening reception 
from 8-10, with a special performance at 8:15.







Click here for the remainder of the article.












Opening reception and performance!

We at CreativeRHINO are thrilled to have this opening for my exhibition also be the first event in our new *asterICT Visiting Artist Series:

FRIDAY, APRIL 6TH 8-10 PM
NakedCity Gallery, 121 N. Mead, between Douglas & 1st in Old Town


Jennifer Beattie mezzo-soprano, and Adam Marks, piano, present a program of songs by Claude Debussy, William Bolcom, Aaron Copland, and others. The program, which will be presented in the gallery alongside Van Steenhuyse’s work, plays on the ideas of the artist’s creative process and style. 


Audience members will have the opportunity to hear a French song, for example, that uses a variety of abstract musical ‘colors’ to create a vivid scene.   William Bolcom’s “Angels are the Highest Form of Virtue’ expresses the sentiment that the little things are what make the world truly beautiful.  The songs range from funny to poignant, and will temporarily turn the gallery into a world of multi-sense artmaking.


Friday, March 30, 2012

Pop the Artist interview

The very talented Emilie Harkin has an arts site called Pop The Artist. I was honored to be her latest featured artist profile:

Kate is telling me how she titles her paintings. “If there was a conversation with the piece,” she says, “then it’s something I would say or it would say to me.” She pauses. “I don’t think of them as people.” This is followed by a short laugh. “But I kind of do.” more

Tuesday, November 15, 2011

Full Fathom Five installation shots

What a great time we had in NYC—thanks to all for coming out to the opening & celebrating with us.
Thank you to our hosts at Jenkins Johnson Gallery! The gallery has some great installation shots of the show as well as images from the entire series of mine on their website (some of the work isn't even on view in person).

I have some exciting things coming up in the spring, stay tuned!

my wall from the front entrance

Max & Jess at the opening

Saturday, October 15, 2011

Monday, September 19, 2011

Re-visiting, re-thinking, re-engaging

A recent discussion with a curator for an upcoming show has left me reflecting on some drawings that I haven't thought about in a long time. It is such a treat to have an outside voice plant a seed in your brain which then makes you see your own work in a new way.

The upcoming exhibition (details soon once things are more finalized) has me thinking of transformations. The curator was interested in some drawings from 2007 from a series called "World Machines." The larger drawings use notational and gestural marks collaged together to form teeming masses—mechanisms that make me think of the movie Brazil—that teeter between a state of potential rebirth or decay. The smaller works are a bit looser/lyrical with ink washes in addition to the collaged marks.

Reflecting back is of course making me think about my current work in new ways. I'm working primarily on unstretched canvases and planting suggestions of structure within them by adding chunks of wood stretched within the fields (see Sattha's Mmmm... as an example). I hadn't thought about this work in terms of transitions before but now I see that the idea is very relevant. I have always liked my work to feel like it's caught in the process of becoming; not yet fully matured and retaining a sense of potential energy. This often makes for a fairly awkward object... and I like that too. It's as if I'm creating adolescent artworks—all knees & elbows—makes for some fun angles!

Some images from the World Machines series, all from 2007:

World Machine #1, 18x24

World Machine #2, 18x24"

World Machine #3, 18x24"

World Machine #5, 18x24"

World Machine #7, 18x24"

World Machine #8, 18x24"

World Machine #9, 18x24"

World Machine #10, 18x24"

World Machine #11, 18x24"

World Machine #12, 18x24"

Machine Garden, 40x42"

Machinescape, 58x42"

Sky Net Machine, 54x42"

Convergence Machine, 42x41"

Formulation Machine, 50x42

Thursday, June 09, 2011

New American Paintings!

I'm in for the NAP West Edition! This edition was juried by Cassandra Coblentz of the Scottsdale Museum of Contemporary Art:

Cassandra Coblentz is Associate Curator for the Scottsdale Museum of Contemporary Art (SMoCA). A native of Los Angeles, Cassandra has spent her career all across the country, from L.A. to New York, and her years-long focus on museum education has largely informed her practice as a contemporary curator and how she approaches exhibition-making.


Read the full interview for her views on process, emerging work, and the importance of considering viewership when making curatorial decisions at the New American Paintings/Blog. 

Exciting stuff... should be out in the fall. Now I must pick 6 images & get the 'ol paperwork together.


About New American Painting:

Thursday, June 02, 2011

Somewhat related notes on poetry

In an article titled "After the Drips" by Jerry Saltz in the April 4th issue of New York Magazine, Saltz says "A lot of the work in "Unpainted" is hard to take—even ugly. Some of it looks like junk. But much of it I love because it shows how fluid and uncanny beauty and form can be. Sit with the work here and you will find you are using you imagination more than  you eyes."

On a somewhat related note, I have recently been thinking about the kinship between painting & poetry.

I have never really been a fan of poetry but the more I look into it I think I've just been lazy about it.  My dear friend Colleen Sanders recently shared the article  "Laugh While You Can" by Kay Ryan with me that, though actually about poetry, is all about painting. I particularly love this passage:
Right now I am thinking of something unlikely that I saw a few days ago, the morning after my town had experienced a major winter flood. In the middle of a residential street, a cast iron manhole cover was dancing in its iron collar, driven up three or four inches by such an excess of underground water that it balanced above the street, tipping and bobbing like a flower, producing an occasional bell-like chime as it touched against the metal ring. This has much to say about poetry.
For I do not want to suggest in any way that this aquifer under poetry is something silly or undangerous; it is great and a causer of evry sort of damage. And I do not want to say either that he poem that prompts me to laughter is silly or light; no, it can be as heavy as a manhole cover, but it is forced up. You can see it would take an exquisite set of circumstances to ever get this right.

In terms of structure, layers, dangerous hilarity, undercurrents, and the role of the reader/viewer this article and how it can apply to painting make me giddy. The parallels of painting & poetry were originally introduced to me in college by professors Michael Byron & Julie Burleigh—but it's taken me this long to really delve into the idea.

And so, again on a somewhat related note, I leave you with one of my favorite poems of all time:
Poem, by Frank O'Hara
Lana Turner Has Collapsed!
I was trotting along and suddenly
it started raining and snowing
and you said it was hailing
but hailing hits you on the head
hard so it was really snowing and
raining and I was in such a hurry
to meet you but the traffic
was acting exactly like the sky
and sudenly I see a headline
LANA TURNER HAS COLLAPSED!
there is no snow in Hollywood
there is no rain in California
I have been to lots of parties
and acted perfectly disgraceful
but I never actually collapsed
oh Lana Turner we love you get up

Thursday, May 05, 2011