The Watercolor Story Series
Katie Gallery Studio Tour featuring the Mitchell Gold + Bob Williams Line
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484 264 6462
Funori Watercolor Process
All of my watercolor paintings are mixed from pigment by hand, creating unique, one-of-a-kind hues. Pigments come from all over the world and are light-durable, synthetic, and non toxic whenever possible.
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.
The Fibonacci series is often used in my 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.
The patterns are laid in using a latex white, and despite much experimentation, the best resist is still Jackson Pollack's favorite, house paint. 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.
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.
Live with beauty.
The newest works feature shimmery pigments that wink their light refraction like ghosts in the room.
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.
There is no right way to look at these beauties. Turn them around and upside down, 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.
So, let them get a little sun, live with them, love them. These aren't just paintings, they are life long friends.
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.
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.
Please contact for price list
Color. Dot. Line.
My work shifts in color and pattern combinations through the changing seasons.
A constant and ever-revolving relationship with the visiting public at the NYC store-front brings new direction to every piece. This discipline of vetting done by the Meatpacking crowd allows my art to end up in the perfect location for my favorite client's homes.
I focus on creating pieces that are harmonious with the client's heart so they are favorites for life.
Art in Place
My paintings lead glamorous lives. They overlook beautiful homes all over the world. I love that my creations go out to have such adventures. A beautiful home in London, a place by the sea in Melbourne. Perhaps another little vacation spot in St. Kitts. Living perfectly in Atherton. Graciously in the hall in Houston. Good luck little paintings!
My goal is to see all of them in the Whitney and other museums after they have been loved and treasured and part of families in homes who who love them. When you are finished loving them, sell them at auction and please, set the bar high.
Please send me photos of the paintings in your life that you love. I miss them and would love to see what beautiful things have become of them.
Working to serve beauty
My largest influence has been Australian Aboriginal painters. Their commitment to the present moment and 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 - it's a love I cant explain, or a past life echo. Something I find really, really profound and a pull 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 Gansevoort 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." So, 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.
Hardcore since 1974, my first teacher was watching my parents, a painter and sculptor. Later, apprenticing under fine artists, I worked and attended thousands of craft and fine art shows. These provided hundreds of makers, fine artists, and craftspeople to observe and learn from. I have 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 I received, and where I earned a mechanical pencil I still draw with today. More in-depth study later at the Pennsylvania Academy of Fine Arts got me a
student loan and a serious sculpture habit.
Today, I support my sculpture with a beautiful line of paintings and a residency program called the Mansion. At the Mansion, I create a positive active space for people to learn the trade of being artists in a genuine 1893 Victorian mansion. My main studio is The Temple, a secret lair that is 20,000 sf of vintage 1933 valve factory,
untouched since the 1980s.
Reach out to 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.
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Colliding Worlds 1