Katie Brennan - Chasing Waves

 

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Headbones Gallery exhibition catalog, February 14-March 17, 2012 Katie Brennan - Chasing Waves Rich Fog Micro Publishing ISBN: 978-1-926605-45-6

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katie brennan chasing waves katie brennan chasing waves

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the drawers headbones gallery contemporary drawing sculpture and works on paper katie brennan chasing waves february 14 march 17 2012 commentary by julie oakes

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artist catalog katie brennan chasing waves copyright © 2012 headbones gallery this catalog was created for the exhibition of works by katie brennan titled chasing waves presented at headbones gallery vernon bc february 14 march 17 2012 artwork copyright © 2012 katie brennan rundle and cascading runnels katie brennan commentary © 2012 julie oakes rich fog micro publishing printed in canada 2012 layout and design richard fogarty printed on the ricoh spc 811dn all rights reserved no part of this work may be reproduced or transmitted in any form or by any means electronic or mechanical including photocopying and recording or by any information storage or retrieval system except as may be expressly permitted by the 1976 copyright act or in writing from headbones gallery requests for permission to use these images should be addressed in writing to katie brennan c/o headbones gallery www.headbonesgallery.com isbn 978-1-926605-45-6 front cover selection from the wall of water 2012 gouache on paper 22x30 inches back cover selection from the wall of water 2012 gouache on paper 22x30 inches

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katie brennan chasing waves rich fog micro publishing

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rundle and cascading runnels katie brennan brennan s work was introduced in the headbones drawer s gallery in october with large paper pieces based on corporate car logos on display these stripe-y monochromatic works laid the ground for a new series that first appeared during her banff residency challenged by the grandeur of the surrounding landscape brennan s head turned from the concerns of materialistic signifiers to nature sounds of the mountain streams were pervasive and seeped into her work the stripes became water runnels currents and effervescent bubbles she completed a wall of water drawings that mysteriously related one to the other as if they were all en route to the sea the stripes also became craggy peaks defining the landscape in broad lines that followed the contours of the great mountains to deepen their drama brennan rendered the mountains in a deep indigo blue her geological depictions are as striking as being in the presence of the majestic peaks although both the waves and the mountains are

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made of fairly even bands of colour the application of paint is used to different ends in the water paintings there is an illusion created which is brought about by the interruption of spaces devoid of colour where the paper as white comes into play these areas of white become bubbles or reflections while the bands of colour describe depth as they overlap or as in some instances bands are layered on top of bands water being both reflective and see-through is a challenging substance that brennan has managed to illustrate with an economy of means as we come closer to the paper the illusion is lost and the work becomes an abstract application of paint on the surface of paper this still works for the gestures are writhing and involved as telling as any abstract expressionist endeavour repetition also adds to the power of the works for as single objects the inclination would be to view them at a close range as one naturally does a modestly sized watercolour but the fact that the wall of water occupies a large area promotes a distanced viewing of the work and hence the illusion kicks in the mountains although they exhibit the same technique offer a reverse sensibility as immense objects of contemplation the mass is traversed by

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bands of indigo the width of a finger as if each peak has been touched by humanity and built by the layering of stripe upon stripe the mountains size has become manageable it has been brought down to a repeated consistent caress where the perse line is deep there are suggestions of ravines when lighter there is an indication of snow or as in unique instances where the stripe alternates between light and dark as it builds there is a return to a cliche wave-like mark with a loping lilting description that makes cartoon of a wave in both series the colour is crucial the sea tones in the wall of water are necessary to convince doubt that this is flowing liquid conversely the solidity of the rocky mountains are believable with the choice of blue being deep slate-like and mass enhancing there is a subversive sensuality in the seeming rush of water the gush of emotions engendered in the implied movement swirling playful seductive the mountains rather than exuding sensuality appear to have received the attentions of love the patient trace of the round-headed mark up and down the contours of stately masculine elegance appear to be an intimate obeisance paid.

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the paper ground is used to advantage as well in each of the series the mountains attached from above and flipping upwards on the bottom edge as they hang bring to mind tapestries and scrolls curling to form additional waves the pristine grid forming the installation of the wall of water has a crispness of presentation that is necessary to the desired illusion of flow the rooted mountains curl up as the flowing water is pinned tight each individual piece also exists in its own right yet they work more completely in unison to reinforce their endemic character than as individuals brennan generates a broad swath of positive influence so that we are disarmed to move towards a positive engagement she moves mountains and increases the flow julie oakes 2012

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bow river suite 2012 gouache on paper each 44 x 30 inches

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mirrored those inner reflections play here 2012 gouache on canvas 26x30 inches

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furious ice still waves 2012 gouache on canvas 34x33 inches

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