Studio Visit & Upcoming Exhibition August 2014

Preparing for a studio visit with Jan Casey and Associates on Friday to select works which will be hung at the building in San Francisco in August. This is a large architectural space and most likely the works selected will be fairly large – I’ll post here once they are selected.

Preparing the studio takes a lot of manpower. I have been hard at work stretching new canvases and completing a few ends on some recent paintings and also photographing the newest works. So as you might imagine, the studio began to gain some unsightly debris! Studio clean-up has been completed with a few last minute things to do tomorrow and Friday.

Here is an image of my last architectural installation:

Installation at 555 California SF, Ca. Oct.-Dec. 2013, Kathryn Arnold

Installation at 555 California SF, Ca. Oct.-Dec. 2013, Kathryn Arnold

Studio June 2014

In the studio over the past year or two creating works for an exhibition at the Triton Museum February 2015. I hope to have new works for this exhibition and will be posting a few images as time continues.

This summer my time in the studio has become intensive as my teaching schedule subsided. At times there is a sense of overwhelm and other times the feeling I am hermit-like as it takes seclusion and lack of social activity to allow the focus needed.

Many of the paintings are large and many of them will be from my new ‘poetry’ series (for lack of a better name right now) which investigates how words/language create meaning from visual experience. I am selecting words from a number of existentialist poets and others – these words will not be on the front of the canvasses however as I desire the primacy of the visual experience to have full impact.

May 7,8,9,10,11th! Some of my work is in the SFMOMA Artists Gallery Warehouse Sale

I have a few select pieces in the upcoming SFMOMA Artists Gallery Warehouse Sale along with many other artists. This is a large annual event which generates funds for the Artists gallery and its many educational programs so is most worthwhile. Most works are listed at sale price. I should have 2 on the wall in the main building and the 7 that are not hanging are in the building a few doors down. If you don’t see them, feel free to ask the gallery crew.

I will be there on Friday 5-8 PM volunteering so please find me.

Opening night: Wednesday, May 7, 6:00 – 9:00 p.m
Thursday, May 8, noon – 8:00 p.m.
Friday, May 9, noon – 8:00 p.m.
Saturday, May 10, noon – 5:30 p.m.
Sunday, May 11, noon – 4:00 p.m
SFMOMA Artists Gallery at Fort Mason
Fort Mason Center
2 Marina Boulevard, Building A
San Francisco, CA 94123
For more info:

Day at Studio by Kathryn Arnold, mixed media on paper, framed in natural maple

Day at Studio by Kathryn Arnold, mixed media on paper, framed in natural maple

Cycling Crescent by Kathryn Arnold, 32 x 26", oil on canvas

Cycling Crescent by Kathryn Arnold, 32 x 26″, oil on canvas

Kathryn Arnold, A Connected Time, 36 x 48" oil on paper

Kathryn Arnold, A Connected Time, 36 x 48″ oil on paper

Earth: Blue and Orange by Kathryn Arnold, acrylic on paper, 17 x 24"

Earth: Blue and Orange by Kathryn Arnold, acrylic on paper, 17 x 24″

Earth: Salmon 2 by Kathryn Arnold , 30 x 22 ", acrylic on paper

Earth: Salmon 2 by Kathryn Arnold , 30 x 22 “, acrylic on paper

Earth: Salmon by Kathryn Arnold, Acrylic on Paper, 26 x 19"

Earth: Salmon by Kathryn Arnold, Acrylic on Paper, 26 x 19″

Earth: Like Family by Kathryn Arnold, 19 x 27", acrylic on paper

Earth: Like Family by Kathryn Arnold, 19 x 27″, acrylic on paper

Earth: With X by Kathryn Arnold, 26 x 19", Acrylic on Paper

Earth: With X by Kathryn Arnold, 26 x 19″, Acrylic on Paper

Earth: Lifelike Elements by Kathryn Arnold, 30 x 22", Acrylic on Paper

Earth: Lifelike Elements by Kathryn Arnold, 30 x 22″, Acrylic on Paper

Just unpacked giant stretcher bars 4-15-2014

Today I finally had opportunity to unpack the stretcher bars i had recently ordered – giant sizes, 96″ 93″ . So now my work will begin as I build them and stretch the canvas. A few will be used to restretch a few earlier paintings that for some reason I took off stretchers awhile back. I am looking forward to seeing them again.

I recently completed a large 6′ x 6′ painting for my upcoming February exhibition – this is from my poetry series which references how language can interpret the visual world or how we use language to reinterpret what we see. This one is connected to a poem by Cortazar. More soon on this. Poetry will be written along the outside edges on this one.

New work by kathryn arnold based upon a Cortazar poem, size 6' x 6', oil on canvas

New work by kathryn arnold based upon a Cortazar poem, size 6′ x 6′, oil on canvas

Self-documenting your art process

kathryn arnold:

I totally love this! I cannot wait to try out these apps in the studio, Kathryn(Thank you, Sergio)

Originally posted on Sergio Gomez Art Blog:

Sergio Gomez at work

Sergio Gomez working on One Dolor at NMMA

A couple years ago, I had a wonderful conversation with author Dr Cecilia Gonzalez-Andrieu who was writing about my work for a chapter in her new book (Bridge to Wonder). We were discussing the importance of documenting the art making progress. I had never paid serious attention to it until then.  She explained how important it is for those doing research about an artist to have a wealth of documentation into the art making process. After that conversation, I decided to be more proactive at documenting not only the finish work but also my process with photographs, writings and videos. I would like those who will study my work after I am long gone to have an in-depth view of my process.

Although most artists will never have the opportunity to have a professional two-hour documentary of of their life…

View original 159 more words

Review of my work in “Visual Art Source” publication , March 30, 2014

The exhibition at Sandra Lee Gallery has been taken down yet a review was published just after the exhibition. I have pasted the text of the review here. It is written by DeWitt Cheng who reviews many exhibitions in the Bay Area for many publications. I feel privileged to have my work written about by him.

Editorial: Kathryn Arnold Sandra Lee Gallery, San Francisco, California Recommendation by DeWitt Cheng – See more at:

Continuing through March 29, 2014

Below is the text of the Review:

The San Francisco painter Kathryn Arnold, in a recent interview, cited the design philosopher Victor Papanek (who may have been one of her teachers): Humans may (I paraphrase) have a genetic predisposition for brightly lighted fields dotted with winding paths and screens of foliage that both reveal and conceal the geographic totality; “the new information is not present [in the fixed images of painting]; it is only suggested or implied.” This landscape metaphor for painting accords with Denis Dutton’s conviction that human evolution in the savannahs of the Pleistocene era informs past and current aesthetic pleasure, It’s a good way to approach Arnold’s large abstract oil paintings, colorful fields of markings that hover between abstraction and a covert representation which includes recognizable objects and indecipherable texts discernible here and there within the thickets of marks.

These field paintings oscillate between records of time passed creating such dense interweavings (the colors of which reflect the changing colors of the day) and as subjective transcriptions of ‘heroic’ landscapes (the quotation marks are Arnold’s), like those of nineteenth-century landscapists like Bierstadt and Moran, whose epic panoramas assume an air of imperialist Manifest Destiny to contemporary eyes. Monet’s Giverny ponds come to mind as precedents; possibly, also, Lee Krasner’s impacted all-over fields. If Arnold’s bright, floral palette is reminiscent of Impressionism, her profusely patterned surfaces, cross-hatching set free from representation, ask the engaged viewer to bring into focus the layers of visual cues and create totality from parts (which Impressionism, did, also, for an audience accustomed to academic sharp focus). Arnold’s ambiguously horizonless, scaleless vistas in works like “Joker’s Paradox #1,” “Winter: Winter’s Wind,” “Fish and Dragon,” “Blue to Green,” “Skein of Memories” and “A Poet’s Forest” are unsettlingly seductive to both the post-Pleistocene scanning eye and interpretive mind.



Sandra Lee Gallery – See more at:

Installation Photos of my Paintings at 251 Post St, 3rd floor, SF, Sandra Lee Gallery March 2014

It seems as if putting the exhibition together and the installation was forever ago even though just barely over a week. The reception was a pleasure; it gave me opportunity to see many friends and meet new ones. Below are some installation shots of the exhibition before the opening began. The exhibition is up through the 29th of March 2014. If you are close by and missed the opening please still go. Let me know if you’d like to meet up at the gallery to discuss the works in person as i would be happy to.

It’s nice to be able to exhibit a few of my architectural sized pieces in the gallery space. They don’t feel that large here adorning these walls.

I feel I write better than I speak in regards to my work and may begin to write more.

Artist Statement: Kathryn Arnold

The paintings are a result of intuitive nonobjective processes and contain my search for visual “magic”. The sense of touch and chaotic energy of color and marks play an important role in building up layers that function to create and encompassing, enveloping field and bewildering space. The grid at times becomes a reference point and the intrinsic relating of parts form poetry; an interplay between subjective and objective realities.

*”2.Any mysterious, seemingly inexplicable power or influence; as, the “magic” of love.” (webster)












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