• Even Waves

     

    Capturing a pendulous ebb and flow in deep blues and indigos.

     

     

    60 x 40

     

    Indigo Story:

    Light

     

    A sunlit trip from light to indigo, constellated with heartfelt precision.

     

    60x44

     

    Indigo Journey

     

    An exploration of indigo that leads to a warm, natural conclusion.

     

    50 x 35

     

     

    Pigments of Spring

     

    As though climbing a snowy embankment, this piece speaks of seasons past.

     

    50x 35

     

     

    Breath of the Sea

     

    Evocative of the sea's warm and gentle exhalations, illuminated.

     

    60 x 45

     

     

    Dark Shore

     

    Blue meets in the pull of a deep indigo bar, crested with gold.

     

    50x35

     

     

    Soft Storm

     

    With a gentle weightiness, this piece is reflective of spring storm clouds, through which the faintest glimmering of sun can be seen.

     

    50x35

     

     

    White Gale

     

    Like a strong, silvery wind, this piece propels the viewer with its soft yet sharp shine.

     

    50 x 32

     

     

    Sea's Reprieve

     

    The rush of the tide as it grades into sand, glinting in the light, can be seen.

     

    50 x 35

     

     

    Nimbus

     

    With recurring, cyclical motions, this piece is reminiscent of a gray, gravid sky.

     

    60 x 44

     

     

    Sunlight Blush


    Soft and stately, this work reflects a regal warmth, meticulously patterned.

     

    60x44

     

    Sun Beams

     

    Reflecting the rhythm of waves and cadence of light, this piece glimmers.

     

    60x44

     

  • You've Gotta Have It

    special edition summer 2018

    There are no published blog posts yet.
  • Color. Dot. Line.

    These handmade watercolors use funori, a PH neutral Japanese seaweed used in book binding glue and a soup! There is no right way to look at these. Turn them around and all upsidown, I make them on a table that spins so the right way is your way. The mica pigments change depending on the angle and light you see them under.

     

    This natural plant glue adheres the dense pigments to the paper along with gum arabic, the traditional ingredient of watercolor.

     

    Pigments come from all over the world and are light-durable, synthetic, and non toxic whenever possible. So let them get a little sun, live with them, love them. These aren't just paintings, they are life long friends.

    Paintings you have seen, or would like to see can be purchased here.

     

    I work to your designer colors to collaborate with the buyers in a unique art experience. My art is constantly influenced by your ideas and concepts.

     

     

     

    Connect to discuss what you need:

     

    katie.heffel@gmail.com

    484 264 6462

    Live with beauty.

    The newest works feature shimmery pigments that only wink their light refraction like ghosts in the room.

  • It's the new style

    Paintings, like fashion, are an interpretation of the time we live.  The world goes grey, neon, shimmers or goes eternal blue or radiant red.

    Custom Work:

    Please contact for price list

     

    katie.heffel@gmail.com

    800

    Clients served

  • Say Hello!

    Reach out and talk about what you want in a piece, what you love about the ones you have, or new directions you want to see in the work.

     

    Painting emergency?

    Need me right now?

    484 264 6462

    Text is fastest response

    email: katie.heffel@gmail.com

     

    or send me a message here

  • About Katie

    Working to Serve Beauty

    Passion

     

    The largest influence has been Australian Aboriginal painters. Their commitment to the present moment, the idea of painting as a community story, is an important part of the process. I love the idea of the nothing that is the outback, and how painters there have created an industry for themselves out of the stories of their lives and history. My favorite, Dorothy Napangardi and the other Napangardi sisters, have a painted language that echoes through time.

     

    My spiritual experience is always extremely profound when exploring the work of Otto Peine in the early 1950's. The German Zero artists move me with their hammered points in grids of logic (I'm looking at you Günther Uecker) and the unsteadiness of the human hand. I cry when I see them, Its a love I cant explain, or a past life echo. Something I find really really profound and pulling towards something amazing.

     

    The use of certain patterning as a psychologically relaxing process is seen in the work of Yuyoi Kusama, a major influence, and certainly the modern master of the dot. The dot is also a motif seen across outsider art, from Mali to Bali from the most distant past and the most fast forward future. It speaks to the human desire to seek out and interpret patterns even where none may exist.

     

    The repetition of naturally occurring patterns, such as the pulsar tracing made famous by the cover of Joy Division's Unknown Pleasures, created an obsession. In the work, I make similar lines in cadence, creating patterned effects that are unknown to the viewer until the entire image is revealed.

     

    In the post-Internet, post-modern future we find ourselves in, the Albers' are always present in color work. Even they had predecessors working on tapestries of the Renaissance; all trying to understand how color works and how it makes us feel.

     

    How the Paintings Come to Be

     

    The ideas usually develop, and I will be haunted by it. I see that shape everywhere. I know I have to do it. I create a group of 20 pieces or so as a sketch. The community on Ganesvoort street of tourists, collectors, and every day people let me know which pieces connect deeply. I refine the image and the ideas. Always checking with the designers that I am working with or the collector that wants a certain color to develop organically, it will be there.

     

    The people of New York City respond. They say, "Make Grey." I say, "Ok." I make Grey. It is wonderful and I am surprised, but I shouldn't be. Then they say, "A deep red Orange like the sunsets on Mars." I do that. It is amazing. Their clothes, their colors, their homes, their feelings come back in the paintings.

     

    Learning

     

    Hardcore since 1974, her first teacher was watching her parents, a painter and sculptor. Later, apprenticing under fine artists, she worked and attended thousands of craft and fine art shows. These provided hundreds of makers, fine artists, and craftspeople to observe and learn from. She has managed no less than 30 shows per year for the last 10 years and sold art all over the US and Australia to a worldwide group of collectors.

     

    The Art Students League of NY was the first academic training she received, and where she earned a mechanical pencil she still draws with today. More in-depth study later at the Pennsylvania Academy of Fine Arts got her a student loan and a serious sculpture habit.

     

    Today, she supports her sculpture with a beautiful line of pairings and a residency program called the Mansion. At the Mansion, she creates a positive active space for people to learn the trade of being artists in a genuine 1893 Victorian mansion. Her main studio is The Temple, a secret lair that is 20,000 sf of vintage 1933 valve factory untouched since the 1980s.

     

    Process

     

    The watercolor is mixed from pigment by hand creating unique one-of-a-kind hues.

    Here is a sample recipe and information if you are curious about how to make watercolor.

     

    In addition to gum arabic, the age-old watercolor binder, the pieces heavily use funori, a Japanese seaweed. Often used in archival book binding, the funori is used to lift and carry dense pure pigments over the paper with a unique body and flow not often seen in traditional watercolor. The paper is beautiful 100% cotton Coventry Rag Legion made, like the artist, in the early 1970s, and is uniquely able to take the process. It was created largely for Erte, and had a certain stability in the gold leaf he used in his work. How it handles the metallic pigments and the dense layers is why it is the preferred paper above all others for the process.

     

    Hundreds of test strikes are made, testing the various aspects of the pigment and the paint's ability to adhere and blend. These small paintings litter the floor of the studio, and are the cards that so many Meatpacking and exhibition friends enjoy.

     

    While large sheets of Coventry Rag are prepared for the major paintings. Each batch of paint is made fresh for the batch of paintings to come. Colors are mixed in family groups together; blacks and blues, yellows and golds, browns and oranges...

     

    Each piece is worked with 2-10 others of like colors and must dry fully between color cycles. This usually takes 3-4 days. I prefer to spread out over a large studio so the paintings won't be disturbed. During their dry, the paint evaporates and becomes the next layer of the final piece.

     

    The Fibonacci series is often used in the work to create patterns with the beauty and nuance of the numbers. The I Ching, with its patterns of lines coming forever down, up, and rising through the random noise to give us insight into the nature of change, is another patterning influence.

     

    So How Do you make the Dots?

     

    The patterns are laid in using a latex white, and despite much experimentation, the best resist is still Jackson Pollack's favorite, housepaint. I also mix it with silk painting resists. This causes a ghosting and patterning around the resist, which is really beautiful and works perfectly with the paper.

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