TAYLOE PIGGOTT GALLERY — KATINA HUSTON

13 FEBRUARY — 24 MARCH 2015

KATINA HUSTON UNFOLDING TAYLOE PIGGOTT GALLERY 62 SOUTH GLENWOOD STREET JACKSON HOLE WYOMING TEL 307 733 0555 TAYLOEPIGGOTTGALLERY.COM

Bigg’un, 2014 Ink on Mylar 40 x 84 inches 2

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Dynamo Wobble, 2014 Ink on Mylar 42 x 40 inches 4

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Big Silver French Horn Diptych, 2014 Ink on Mylar 72 x 72 inches 6

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Dissemble, 2014 Ink on Mylar 24 x 72 inches 8

Athena Nike Diptych, 2015 Ink on Mylar 72 x 72 inches 10

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Trumpet Square, 2014 Ink on Mylar 24 x 24 inches 12

French Horn Dynamo, 2014 Ink on Mylar 46 x 42 inches 13

Unfolding, 2014 Ink on Mylar 40 x 60 inches 14

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Little’un, 2014 Ink on Mylar 46 x 42 inches 16

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Saxophone Square, 2014 Ink on Mylar 24 x 24 inches 18

Shy of Center, 2015 Ink on Mylar 24 x 24 inches 19

Wide Open Spaces, 2014 Ink on Mylar 42 x 84 inches 20

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Little Fanfare, 2015 Ink on Mylar 32 x 32 inches 22

UNFOLDING 2-3

Bigg’un, 2014 Ink on Mylar 40 x 84 inches $16,500

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Trumpet Square, 2014 Ink on Mylar 24 x 24 inches $4,500

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Shy of Center, 2015 Ink on Mylar 24 x 24 inches $4,500

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Dynamo Wobble, 2014 Ink on Mylar 42 x 40 inches $9,500

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French Horn Dynamo, 2014 Ink on Mylar 46 x 42 inches $10,000

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Wide Open Spaces, 2014 Ink on Mylar 42 x 84 inches $16,500

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Big Silver French Horn Diptych, 2014 Ink on Mylar 72 x 72 inches $20,000 (unframed)

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Unfolding, 2014 Ink on Mylar 40 x 60 inches $12,500

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Little Fanfare, 2015 Ink on Mylar 32 x 32 inches $8,200

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Dissemble, 2014 Ink on Mylar 24 x 72 inches $9,800

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Little’un, 2014 Ink on Mylar 46 x 42 inches $10,000

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Athena Nike Diptych, 2015 Ink on Mylar 72 x 72 inches $22,500

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Saxophone Square, 2014 Ink on Mylar 24 x 24 inches $4,500

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KATINA HUSTON “I wanted to make shadows tangible; flat rubbery forms that I could peel up from the ground and slap on the wall, sticky and abstract. I could make lots of them and pile shadows up like so many pancakes, fifteen feet across. They seemed ideal byproducts of life; vital and mundane. Setting out to capture them, my plan instead inspired a system for making. In a nutshell, I tried to draw in sunlight but the shifting sun forced me to chase the forms across the page in skittering lines. Instead of capturing forms, I diagrammed fruitless human endeavor. Fifteen years in, I am still using this process to generate drawings. Now, in the studio I hang an evocative but common object from the ceiling, shine a light through it and work the resulting shadow in ink. Years of looking revealed forms sharp to diffuse. In turn, I had to modify materials to meet new visual criteria. I mixed and evaporated inks to capture a range from crisp black to so light you can’t quite see it, just feel it there. These spaces could be rendered in colorless medium which, because of its viscosity, pushed neighboring pigment into recesses, bleaching white its path. In this way, materials take on a life of their own. Contour lines dry quickly and when filled, serve as channels, directing pools of ink to flow through the drawings. The pools bubble and dry leaving marks like geologic forms from evaporated lakes. The source objects of these drawings are essential and meaningless.

They have to be so complex that they exceed my skills compelling pursuit and invention from me.

“There is a whole separate world in shadows. A form can be utterly familiar while completely unrecognizable. I choose objects that are intimate and figurative in nature; a horn, a bicycle, a wheel, a glass. While this is simulacra; generating an object from an image of the thing rather than the original, it is not mediated. A shadow is anti-iconic and distant cousin to its source object. So when viewing the drawings people often respond from body memory rather than intellect.” -- Artist Statement, Katina Huston Kenneth Baker, art critic for the San Francisco Chronicle, has written that Huston “[creates] pictorial structures that wink with recognizable details but finally force the eye to surrender to their sheer graphic brilliance.”

Katina Huston was born in San Francisco in 1961. She was trained in the History of Fine Art at New York University by notable of scholars: Janson, Rosenblum, Varnedoe, and Sullivan, while learning a half dozen computer languages, now obsolete. Her art has been the subject of more than ten solo shows in the last half dozen years, bringing her work to Japan, Sweden, Italy. Her drawings are widely collected and are held at the San Francisco Fine Art Museum, Yale University Art Gallery, and in Steve Wynn’s collection at Wynn Casino Las Vegas. Huston currently lives and works in Alameda, California.

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62 SOUTH GLENWOOD STREET JACKSON HOLE WYOMING TEL 307 733 0555 TAYLOEPIGGOTTGALLERY.COM

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