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IB Visual Arts Exhibition 2022

CONTENTS

Alexandra Starostina

Jennifer Wheeler

Kanticha Wongchumphit

Liubov Bondareva

Marija Rutkauskaite

Sam Reed

Victoria Khotsana

Kathy Coulson

ALEXANDRA STAROSTINA I B Ye a r 1 3 V i s u a l A r t s E x h i b i t i o n During my younger years my actions were dictated by the concepts of good and evil. I was told about sins and how I would pay for them when I burn in hell after I die. I was taught how to be perfect , or more correctly how to appear that way. For many years I was told to hide myself and my opinions because they were not correct in the eyes of god, because if I even admitted these things to myself, not to mention speak them out loud I would suffer a fate worse than death. My goal with this exhibition was to explore myself and the concept of sins. I do realize that for many their spirituality and religious belief give them empowerment, however I had experienced a corrupt form of manipulation which derived from the use of, in my case, Christianity. These artworks were inspired by my personal journey and the way I perceive the concept of sins. There are things that are undoubtedly sinful and plain evil in the world, although for this exhibition I focused on the ‘ seven deadly’ sins. I strongly believe that there is nothing bad or sinful in expressing emotions and to me pride and lust, for example, are just emotions, just like joy and fear are. Although I do agree that in excess things like greed and sloth can become very bad for the person and their relationships with others, no one is born perfect and we all make mistakes and everyone should have a chance to redeem themselves. Most of the artworks exhibited already tell a story individually but there are a couple that unveil into a bigger storyline. It starts with the “Garden of the Sinners’ which depicts an angel who failed to protect the human she fell in love with. For which she had been banished from the ‘heavens’ having her wings taken in ‘We’re All Bound to Fall’. Finishing it off with the ‘ Kiss of Death is Gentle’ which depicts the same person coming to terms with her new life and even being able to thrive. The story behind it is a very romanized version that differs greatly from any biblical references and descriptions of angels. The idea behind it is to show that no matter how ‘pure’ or good natured a person might be they are still not immune to making mistakes and facing the consequences. After everything is done and said the thing that matters the most is how you deal with it, you can choose to give up or to embrace the mistakes, learn from them and move forward. Besides having my own original pieces and characters in my exhibition I also decided to include characters from modern media that deal with the issues of what intentions can be considered good or evil and the idea of redemption. The collection of artworks ‘ There’s a Monster Inside All of Us’ are digital portraits of characters Jinx, Mel and Victor from the show “Arcane”. The show itself is very focused on character development and greatly showcases how views and motivations might change depending on many different factors, especially upbringing. Jinx is the main antagonist in the show , although she is psychotic, impulsive and a menace to herself and others we cannot help feeling sympathetic for her because of her backstory. While trying her best to help save her friend and family with her invention she ends up accidentally killing everyone she loves except her sister. Mel is a leader who strives to protect the people, even though her intentions are good it does not mean that she achieves them in a good way or that they yield the best results. Many times she uses manipulation and grooming in order to get what she wants or believes is the correct course of action. Victor is a scientist who tries to avoid death and in the process he adopts ideas that could be seen as immoral. ‘Stay’ includes two characters from the show ‘She-ra’ one of the characters starts off as one of the main villains but gets a redemption arc showcasing that it’s possible to move forward and forgive. Furthermore these characters are one of the first openly LGBTQ couples in an animation show from Dreamworks. The names for both these artworks are quotes from the shows.

AM I A GOD

W E ’ R E A L L B O U N D TO FA L L

Digit a l Pa intin g 8 4 . 1 x 1 1 8 c m, Feb r u a r y 2 021

D i gi tal Pai nti ng 59.4x84.1cm, August 2021

MONEY HEIST

U TO P L E N I K I

Digit a l Pa intin g 4 2 x 5 9 c m , J a nu a r y 2022

Watercolour 59.4x84.1cm, 59.4x84.1cm, J une 2021

T H E R E ’S A M O N S T E R I N S I D E U S A L L Digita l Pa intin g 42x59c m , 42x59c m , 42x59cm, Febr ua r y 2022

B E W I TC H E D

GARDEN OF THE SINNERS

Waterco l o u r a nd Ac r y l ic o n Pa per 4 2 x 5 9 c m , M a rc h 2021

O i l on Canvas 50x70 cm, Februar y 2022

S TAY Waterco l o ur o n pa per 59.4x168c m , Febr ua r y 2022

K I S S O F D E AT H I S G E N T L E Oil o n Ca nva s 1 2 0 x 1 2 0 c m , Febr ua r y 2022

JENNIFER WHEELER I B Ye a r 1 3 V i s u a l A r t s E x h i b i t i o n Global warming and pollution are issues that have become increasingly worse in recent years. Living in Asia, I have seen the effects of global warming and pollution first-hand and how our lives have been impacted, particularly throughout the COVID-19 pandemic. In my artwork I wanted to communicate not only the lifestyle impacts but also the environmental, mental health, and societal consequences of pollution. I hope that by displaying my artwork in a public space in my school, viewers will notice how different ages might interpret the meaning of my pieces and realise the gravity of the issue in order to prevent more harm. Mainly inspired by Kathe Kollwitz, the majority of my artworks are monotone etchings and charcoal pieces. The lack of colour in many of my pieces are used to show our diminishing resources and how throughout unprecedented times anxiety, and fears are exploited in many facets to create division in communities. Although my works touch on many themes relating to global warming and pollution, I mainly focused on how pollution has affected daily life during the pandemic. Throughout recent years, I have witnessed first-hand the negative effects of global warming and pollution in Thailand. Waste is continually washing up on the once pristine beaches, intense haze from the burning of rubbish, and increased waste including masks and single use plastic. The main media I chose to use throughout my collection was charcoal. Not only did charcoal provide the effect I desired, but the process of making and producing the charcoal material involves pollution as it requires burning wood at high temperatures then compressing the leftover carbon. My work will be displayed in a way that forces viewers to rethink their past and future decisions in regards to the pollution and waste they create. For example, “Same Mistakes” will be exhibited in a hallway, this is to contrast the large size of the piece and make viewers feel engulfed by the work. This feeling of entrapment will force viewers to face the consequences of what the environment may look like if action is not taken to reverse these issues. My “Tolerate It” series was created during lockdown at the height of the pandemic. It is an etching created to depict the toll being isolated from people can have on an individual. Although the series doesn’t directly relate to the issues of global warming and pollution, it will hopefully allow the viewers to understand the consequences of ignoring major signals and how the feeling of isolation will be extended indefinitely if communities stop listening and working together in order to combat the climate crisis. Each piece created has symbolic meaning and when looking at a piece individually it can be interpreted by the viewer in their own way. When exhibited alongside the rest of my pieces it depicts a story. The story describes how our decisions have an impact on the environment, whether it be positive or negative, starting from the largest piece “Same Mistakes”. It gradually turns its focus to how these decisions affect communities such as my paper cut pieces “Temporary Fixes” and “Invisible Strings”, then pivoting to the individual and how they cope with the issues as seen with “Tolerate It” and “Mad Woman”. By pivoting the focus onto the individual, it allows the viewer to relate to the issues presented on a personal level.

FA L S E G O D

H O AX

Cera m ic Febr u a r y 2 022

Wood cut on Paper 297x420mm, Februar y 2022

SMOKE SCREEN

MAD WOMAN

C ha rco a l o n Pa per 1 7 8 . 2 x 1 6 8 . 2 c m , J a n ua r y 2022

Etchi ng wi th B lack I nk on Paper 42.0x59.4cm, Februar y 2022

TEMPORARY FIXES

L A S T G R E AT DY N A S T Y

Pa perc ut 4 2 . 0 x 5 9 . 4 c m , D ecem ber 2021

Charcoal on Paper 42.0x59.4cm, S eptember 2020

INVISIBLE STRINGS

R I CO C H E T E D T E A R S

Pa perc ut 4 2 . 0 x 5 9 . 4 m m , Augus t 2021

Charcoal on Paper 42x59.4cm, November 2020

TO L E R AT E I T Etc h in g o n Pa per 42.0x59.4c m , M ay 2021

KANTICHA WONGCHUMPHIT I B Ye a r 1 3 V i s u a l A r t s E x h i b i t i o n Climate change and global warming have played a large role in damaging our biodiversity. The wildlife in Phuket which used to be enriched with different species of plants and animals has greatly declined in the past decade. This is a phenomenon called the 6th Mass Extinction. Unlike previous mass extinctions, the Helecone extinction is caused by human activities. Born and raised in Phuket, Thailand, I have been exposed to many of these new changes and I have decided to start taking more initiative towards fixing this issue. My intention within this body of work is to raise awareness about the loss of biodiversity by using creative and imaginative approaches. My collection is a mixture of artworks in a variety of media which encompasses acrylic painting, sculpting, etching, encaustic wax, suction printing, woodcut, screen printing, and 3D printing. This exhibition is aimed towards children at school. I want them to see and feel the tourist industry’s impact on wild Phuket and recognize that if they are not part of a solution, then they are part of the problem. This is a call to action for the audience to start taking more initiative towards reversing the damage and not returning to the mass tourist activities taking place prior to the pandemic. My range of works explores a variety of issues that have been occurring over the past two years. “Wild Elephants” is a common link that connects many of my artworks together. Inspired by the Phuket Elephant Sanctuary (PES), the work expresses the oppression of elephants that are kept in captivity. This is a large issue in Phuket, animals are being mistreated and used for entertainment purposes. Tourists who come to Phuket and visit these elephants often are not aware of the pain being inflicted on these animals. At the start of my exhibition I displayed my largest piece. At first glance the audience will see two normal elephants standing next to each other. This at first seems joyful and normal. However, the longer the audience observes the work, they may notice smaller details such as the chain around the animal’s foot. By placing the work near the centre of the hall so people would see this work first, I wanted to portray how large the scale of this issue really is. The exhibition for my work will be displayed in a way to convey how our biodiversity has been neglected and changed due to pollution and waste. Using materials that have been thrown away and collected from the beach, “Recycled” is a series of small cutout recycled canvases from my previous unsuccessful pieces. This work will be placed near “Stains of Humanity” since my intention was for people to see the inner beauties within the things we consider unusable. Throughout my IB diploma, I have been inspired by multiple real-life experiences. For example on a sailing trip, sights of coral bleaching is a normal occurrence. The colour of the coral’s surface turns white, the algae are very sensitive to slight changes in their environment. This is why I decided to display my artworks in a dark room to create a depressing mood and evoke a sense of sadness and reflection from my audience. Programmed to turn on and off when close to a sensor, “Wildest Dreams” is one of my most powerful pieces from this collection. All photos were taken from the Great Barrier reef, Australia using google earth. The installation was created to remind people about the beauty under the surface of our deep-blue sea. Being one of the largest tourist attractions in Australia, the locals and biodiversity heavily rely on these living species in order to sustain life. It is a part of our earth that is worth saving. Finally, my sculptures will be displayed at the end of the corridor in glass cases which will mimic that of a museum. I want this to communicate to the audience that in time if we do not take action this will be the only way we will see coral reefs. “Bleached” is located near “Wildest Dreams” since they both share the same theme. Overall, this exhibition has not only given me the opportunity to express my creativity without using my voice, but it has also helped me grow as an artist.

S P I R A L I N G B LO O M

C H A N G E YO U R T I C K E T

Cera m ic a nd G l a ze 35 x 2 0 x 2 0 c m , N ovem ber 2019

Acr yli c on Wood 210x100cm, M ay 2021

B E H I N D T H E C U R TA I N S

B A BY G A N N E T S

Wo o d Cu t o n pa per 2 9 . 7 x 4 2 c m , Feb r u ar y 2022

Acr yli c on canvas 1 00x100cm, S eptember 2020

S TA I N S O F H U M A N I T Y

FOSSIL

I nk o n Ca nvas 1 5 0 x 1 2 0 c m , O c to b er 2021

Etchi ng i n Black I nk on Paper 30x42cm, O c tober 2020

B L E AC H E D

WILDEST DREAMS

Cera m ic a nd G l a ze 1 0 0 x 1 0 0 c m , Feb r u ar y 2021

3D pr i nti ng and L ED li ghts 28x28x28cm, D ecember 2021

ENDANGERED Ac r y l ic S c reen Pr ints o n Pa pe r 105x59.4c m , Ja n ua r y 2022

T H E “ R E C YC L E D ” S E R I E S Ac r y l ic, Wa x a n d fo un d n ettin g o n canvas N ovem ber 2021

LIUBOV BONDAREVA I B Ye a r 1 3 V i s u a l A r t s E x h i b i t i o n My work all relates to my identity. It includes my life experiences of moving from Russia to Phuket. It contains work that illustrates some of my fears and challenges around feeling isolated and difficulties with communication, in particular creating and maintaining friendships. Another common link of all my pieces is the theme of emotion. I look at people’s ability to express their emotions during difficult times. I feel I have done this through the shades of paint I have used in my work. I tried to show an understanding of the uncertain ways people could feel themselves within society when they struggle to communicate their emotions and the feelings of loneliness that may come with this. “Flashbacks” is one of my pieces that has a strong link to the theme of negative emotion. It is a piece that was based on both Lowry’s work and my hometown buildings. I feel the buildings that I chose have a deep meaning of negative emotions, they look dark, unattractive, cold and make me remember some moments that I wanted to remove from my memory. Some of my artworks (Nature 1,2,3) express finding peace even in hard times and allow us to enjoy that moment. This is why I decided to put these pieces near the beginning of my exhibition. In my abstract artwork I focus on emotion within the colours used. They are significant to my emotions at the time of creation. By displaying them together I want people to recognise some of their own emotions in my pieces. By arranging them in a circular motion I aimed to have a positive impact on the viewers’ spiritual world that allows them to find peace in the intimate circle. I start my exhibition with one of my pottery pieces, I have placed one at the start and one at the end of the space. This then collects the pieces in-between. One of the pieces relates to Russia and the other is Phuket. I have displayed the Russian piece first, as this came first in my life. I was born in Russia and am now living in Phuket. I displayed my self-portrait in pen and the lino cut next to each other as they both relate to similar feelings I had in arriving in Phuket, loneliness and difficulties in communicating and maintaining friendships. I then followed this with my pieces in the style of Van Gogh’s. He also experienced similar emotions and I believe the viewer may see connections between the two. The landscapes in the style of Van Gogh are also supposed to be calm and relaxing and work well in this space. Overall I have tried to display my pieces from light to dark, this fits with the emotions when creating my work. During the Pandemic, I believe many people feel the same way as myself. This is why I decided to put all of my pictures in this order because of my thinking that it will be understandable to the people who are experiencing feelings of loneliness, displacement and are seeking peace.

PHUKET

LO S T

Cera m ic 3 0 x 2 0 c m , J a nu a r y 2022

S c re en Pr i nt, Acr yli c Pai nt on Canvas 2 0x20cm, 40x20cm, 20x30cm, D ecember 2021

REST

RUSSIA

O il o n Ca nva s 4 0 x 4 5 c m , 1 5 x 1 5 c m , 20x20c m , 5 0 x 3 0 c m , Apr il 2021

Cerami c 30x20cm, J anuar y 2022

B E AC H

F L A S H B AC K S

En ca u stic, Wa x , Pa per a n d Ac r y l ic Pa int 1 0 0 x 1 0 0 c m , N ovem ber 2021

Acr yli c Pai nt on Canvas 80x40cm, M arch 2021

R AC I S M

FA I L I N G F R I E N D S H I P S

Co l l a g e o n Pa per 4 2 x 5 9 . 4 c m , S eptem ber 2021

Lin o c ut Pr i nt on Paper, Sti tched B ook Pages 40x90cm, O c tober 2020

CO M M U N I C AT I O N

B E AC H S U N S E T

Pen on Pa per 5 9 . 4 x 8 4 . 1 c m , N ovem ber 2020

Acr yli c Pai nt on Canvas 40x90cm, 40x90cm, 40x90cm, J une 2021

MARIJA RUTKAUSKAITE I B Ye a r 1 3 V i s u a l A r t s E x h i b i t i o n I am a professional swimmer from Lithuania, currently training and studying in Thailand. I have spent 13 years of my life swimming and competing locally, nationally and globally. As I grew older I started to realize what swimming meant to me and its various huge impacts on my life. One of the biggest influences is the improvement of my physical health. The water resistance improves cardiovascular health which helps to build and strengthen muscles in my arms, legs, core and other places for a stronger and leaner body. As an IB student-athlete, I have a lot going on in my daily life and a lot to juggle. The swimming pool is the place that helps me to let off steam. Swimming is an aerobic activity and creates a sense of calm throughout the body, leaving me to feel refreshed after my workouts. It relieves my crowded mind by giving me something else to focus on and put my mind into. Swimming has helped me to improve my time management, organisation and decrease my stress levels. In my exhibition I have used art as an expression of my daily life and challenges. I wanted to produce different types of artwork to communicate experiences and feelings to the viewer that have great personal significance. Each piece produced has a unique meaning as part of a coherent body. The exhibition I present here draws the viewer into gaining insight into my feelings and their own of being in water or underwater. It is intended to guide the audience rather than leaving it open to their own interpretation. My pieces are positioned along one wall closely together where the visual correlation can be observed in my artwork. Some of my artworks have a simple white frame so as not to distract the viewer from the actual work. The exhibition of my artwork will be displayed in visual order to express my swimming life. For example, “Abditory Above” is the largest and most powerful piece in my exhibition. Water for me is a place to hide or disappear from the world and its chaos. I wanted this piece to dominate the space to draw the audience closer to see the detail of the artwork that may otherwise be unnoticed. In this piece, I made larger marks that glide across the canvas. The viewer may also have to take steps back in order to see the entire piece properly. This is similar to my artwork “Kalopsia” , a triptych which is also a large scale in comparison to some of my other pieces. My exhibition is displayed on three walls which follow each other in sequence. This creates the “flow” of my artworks and allows the viewers to “swim” through and be totally immersed by the pieces. Seeing all the pieces work together also makes it easier for the viewers to understand the deeper meaning behind the individual pieces as they can identify linking features in the other pieces.

Y I N YA N G

DIVINE

Wo o dc u t Pr int & I n k 2 9 . 7 x 4 2 . 0 c m , Febr ua r y 2022

Cerami cs 28x18x16cm, Februar y 2022

W H O S AYS

H O L D YO U R B R E AT H

Pho to gra phy & Pho to s h o p 4 2 x 5 9 . 4 c m , N ovem ber 2021

Photograph 42x59.4cm, M ay 2021

DIVE RIGHT IN

0 TO H E R O

Acr y l ic Pa int, Wa x , Gl u e, Oil Pa s tel, S hel l a c, Pa p er o n Ca nva s 20 0 x 1 0 0 c m , D ecem ber 2021

Acr yli c Pai nt and Wax 90x120 cm, Februar y 2022

RECHARGE

NAIADES

Acr y l i c Pa int o n Ca nva s & Pro j ec ted I m a ge 1 1 0 x 7 8 c m , N ovem b er 2020

Photography 42x59.4cm, Apr i l 2021

M E , M YS E L F & I

WAT E R F O U N TA I N

Pho to gra phy 4 2 x 5 9 . 4 c m , M a rc h 2021

Photography 100x70cm, S eptember 2021

S T R E TC H & R E AC H Etc hing a nd I n k 2 9 . 7 x 4 2 c m , Febr ua r y 2021

SAM REED I B Ye a r 1 3 V i s u a l A r t s E x h i b i t i o n I am half Japanese and half English, though I have never lived in those countries. I moved several times, as such I was exposed to lots of different cultures and different types of people during my childhood. This caused me to be very open minded about other cultures and customs that people have. However, I did grow up rather sheltered, as such I didn’t learn about the LGBTQ+ community until I was roughly 10 years old, and I heard it being referenced in a derogatory way. It was very harmful for me to hear as it was around the time that I was starting to question myself. As such, I suppressed those feelings and thoughts, this caused me a lot of pain which later came through in my artwork. Something I despise is lies. I hate the feeling of being lied to, or that people are keeping things from me. Not in the sense that I feel the other person doesn’t trust me, more in the sense that because they are hiding something from me they cannot be trusted. However, this makes me a very big hypocrite as I am a compulsive liar, stemming from difficult situations in my past and how I forced myself to lie to myself about who I was and how I felt for such a long time. I use my art to express myself, to tell me the truth in a way that I feel won’t hurt anyone, as it is subjective. Whilst I have included my own symbols and meaning in my work, others may draw their own conclusions and understandings. That is something I love about art. You are allowed to freely express, create and interpret. Many of my pieces are about my self identity and are a form of self expression of things that I may be struggling with. Many of my pieces were inspired by things that I am interested in like Greek Mythology, podcasts, and more. My inspirations were things that I’ve been wrapped up in for a long time, and had quite a lot of knowledge on the topics, while others were shorter fixations that I had needed to get out of my system. No matter how small or short lived the focus was, they all contributed to my art in some way. My exhibition comprises mostly Ceramic 3D pieces, along with some paintings. I think I mainly made 3D pieces as I feel that 2D pieces like drawings and paintings can be rather constricting, while working with clay can be more freeing, almost more forgiving compared to paint or pen.

GARDEN OF ASPHODEL

T WO IN ONE

Cera m ic s 3 0 x 2 1 x 1 4 c m , J a nua r y 2022

Cerami c 22x11.5x18.5cm, O c tober 2021

D I S CO N N E C T

G UA R D O F M Y H E A R T

Ac r y l ic Pa int o n Ca nva s 8 0 x 5 0 c m , Feb r u a r y 2022

Cerami c and Acr yli c Pai nt 15x25x21cm, Februar y 2022

THE FULL ME?

CHANGING FORMS

Oil o n Ca nva s 3 0 x 4 0 c m , Augus t 2021

Cerami cs 50x15cm, M arch 2022

PRIDE

BREAKING THROUGH

Cera m ic 1 7 x 8 . 5 x 8.5c m , D ecem b er 2020

Cerami cs 9.5x10x12.5cm, J anuar y 2022

P O LYA M O R Y O il o n Ca nva s 3 0 x 4 0 c m , O c to ber 2021

VICTORIA KHOTSANA I B Ye a r 1 3 V i s u a l A r t s E x h i b i t i o n My heritage has largely influenced my body of work. Having grown up in southern Thailand as half Thai and Northern Irish, I have been exposed to the unique and beautiful culture of Thailand. Heavily influenced by Buddhism, the national religion, Thai culture over the years has adopted traditional Chinese beliefs. I have learnt so much about signs, symbols and patterns associated with Thailand, my goal for this exhibition is to promote and educate my findings to the audience through my art. The set up of my exhibition will be displayed in a visual order where first you will be introduced to three of my pieces that depict the cultural belief of Buddhism. This is set up alongside a stand honouring the King of Thailand, Maha Vajiralongkorn. Towards the end of the exhibition, I will display my last two pieces portraying the Chinese-influenced part of our culture, a well-known event in Phuket, “The Vegetarian Festival.” “The Offering” is one of my pieces that holds much significance. This piece portrays the handing of fruit to the shrine as a way of deepening one’s commitment to the Buddha’s path to demonstrate special appreciation to the Buddha for the lessons he has given the people. Completed in acrylic paint and oil pastel I used my own hands as a reference, I allowed myself to portray the part of myself that is self-routine at every Buddhist gathering. Alongside this, “Throwing Water” portrays the Thai New Year celebration where water is splashed as a symbol of renewal and respect, representing the cleansing necessary to shift into the new year. I chose to work with watercolour as this event involves the splashing of water. In conjunction with this, my next display consists of three pottery pieces engraved with traditional Thai designs, all of which are filled with flowers and fragranced water used to pour over the hands of the elderly to ask for blessings. The largest of my pottery pieces has hand carved prints of ‘Nang Noppamas’. My last two pieces depict the Vegetarian Festival. Having my exhibition displayed on the corner of the Main Teaching Building in a sequential manner is intended to give the audience a sense of direction through the scale of importance and belief that our country stands by, as well as allowing them to develop a deeper understanding and link between them all.

T H R O W I N G WAT E R

N O PA I N N O G A I N

Waterco l o u r a nd Pen o n Pa per 4 2 x 3 0 c m , J u ne 2021

O i l on Canvas 120 x 80cm, M arch 2021

N A N G N O P PA M A S O F S O N G K R A N

THE OFFERING

Cera m ic La rg e ( 3 0 c m x 1 4 c m), M edium ( 1 5cm x 1 0 c m ) , S m a l l ( 10c m x 8c m ), Feb r u a r y 2 0 22

Ac r y li c Pai nt and O i l Pastel on Canvas 78x56cm, S eptember 2020

P H U K E T TO W N M O N A S T E R Y Oil Pa stel o n Pa per 6 0 x 4 2 c m , O c to b er 2021 29

KATHY COULSON Special Guest Artist The atmospheric Phuket landscape has been the creative space and inspiration for Californianartist Kathy Coulson since her arrival in 1999. Influenced by the Andaman Sea’s dramatic tropical skies, Kathy’s most recent experimental mixed media and encaustic artworks were accepted into a number of highly competitive juried exhibitions in the United States. SeaEscape is currently appearing in the Landscapes & Seascapes Online Exhibition at Las Laguna Art Gallery in California. Two of her now well traveled pieces were shown in Shine, held at Annmarie Sculpture Garden & Arts Center in Maryland (June-August 2021), as well as the re(Building) exhibition in New York City’s Atlantic Gallery (July 2021). Three of her sculptural pieces were accepted into HxWxD (July 2021) and Call of the Wild (May 2021) both part of the Southern California Open Regional Exhibitions/San Fernando Valley Arts and Culture Center’s online exhibitions hosted during the pandemic. More of her work can be seen currently here on Phuket at Project Artisan in Cherng Talay and at The Nai Harn. Throughout her career, Kathy’s work has been accepted into a wide variety of juried exhibitions including: Journeys (O’Hanlon Center for the Arts, 2019), the Jewelry Show (Blue Line Arts, 2018), Art Bra Show (benefiting Placer Breast Cancer Foundation--Blue Line Arts, 2018), Mapping as Source (Arts Benicia, 2017), Spectacular Skies (Annmarie Sculpture Garden & Arts Center, 2017), HEAT (Sparrow Gallery, 2017), the Ellene Ashcraft Membership Medley (Blue Line Arts, 2014), Feeling Blue (Arterie Fine Art, 2014), WAX DIGITAL (International Encaustic Artists Online Exhibition, 2012), Sum of the Parts (Blue Line Arts, 2012), Shine (Blue Line Arts, 2012), and Consequential Fusion: Messages in Wax (Morro Bay Art Center, 2011). Kathy has been a member of International Encaustic Artists (IEA) for the last ten years. Her elements series was exhibited in October of 2018, at Sparrow Gallery in California where she retains a link. Her work has been shown in Cambodia and here in Phuket at Mom Tri’s Villa Royale Gallery in 2014 and the Boathouse in 2000 and 2009. Kathy remains actively involved in various creative projects within her local community, helping others explore their creativity. Since 2002, she has been a committee member and volunteer arts teacher at the Life Home Project Foundation (LHPF), which focuses on helping HIV-positive and AIDS-affected children in Phuket. A graduate of the University of California at Davis, Kathy also holds a PGCE from the University of Sunderland and has taught Art to students of all levels for many years, most recently at the British International School Phuket from 2006-2016 where she will resume teaching in August of 2022.

SEAESCAPE

W E AT H E R I N G I N WAX

Acr y l i c mi xed m edia o n c a nva s w ith co pper 8 x 1 8 inc hes 2022

E ncausti c mi xed med i a on copper 14x47 i nches 2022

FUSIONS 14 Ac r y l ic m ixed m edia o n co ppe r 14x62 in c h es 2014

MONSOON SKIES 3

M O N S O O N S K I E S 11

Acr y l ic m ixed m ed ia o n c a nva s 3 1 . 5 x 3 1 . 5 inc h es 2021

Acr yli c mi xed med i a on canvas 59x47 i nches 2022 31

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