We’re excited to introduce you to the always interesting and insightful Kate Petley. We hope you’ll enjoy our conversation with Kate below.
Alright, Kate thanks for taking the time to share your stories and insights with us today. Are you happier as a creative? Do you sometimes think about what it would be like to just have a regular job? Can you talk to us about how you think through these emotions?
Happiness is a broad word that doesn’t feel inclusive enough to describe the life of a visual artist. I am always thinking about my work and how to approach the next steps, even when I’m not able to be working in the studio. Over a long period, I’ve learned to trust that my process will be there for me; taking that position makes me happy because it provides a feeling of confidence.
Actually, I use unhappiness with my practice as a guide that directs my attention to what is not working. While that may be uncomfortable, it is very useful if I can tolerate the discomfort long enough to find what I’m looking for. It took years to discover that being unhappy or uncomfortable was a sign that I needed to continue working, not that I was failing. Once I break down that part of of the creative process, I usually find my way to the happiness that comes from a successful resolution.
I have had regular jobs but my restless nature could not be satisfied until I committed to being a visual artist. From those jobs, which included a lot of responsibility, I learned to listen to my instincts about people. This comes in handy no matter what.
Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers.
I started working as an artist in 1987, which was a great time to begin because anything was possible and studio space was plentiful. Using found materials like hoses, wire, and wood, I made large scale abstract sculpture. Several collaborative projects introduced me to photography and over time it became a key component in my work. In this early stage, I was interested in transforming ordinary materials into an unexpected object with a relationship to the body and our senses.
Light and color gradually replaced the rough materials, and that changed everything about my approach. Over the years I have worked with many different mediums and my practice now combines sculpture, painting, and photography. I make abstract arrangements using common materials like paper, place them into a vividly lit environment, and photograph them. The images are full of surprises and defy description. Cast shadows are just as important as the object that makes them, often appearing as solid shapes.
I’m creating a space that feels mesmerizing and mysterious in a good way. I’m thinking about what transformation means now.
How am I transformed by the environments I find myself in? The materials I use are completely changed by the light and color I use and, even if the light is artificial, it generates a feeling of the ineffable… a feeling that isn’t about language, only sensation and experience.
If I’m proud of anything, it is that my work elevates the viewer, even if only for a moment.
In your view, what can society to do to best support artists, creatives and a thriving creative ecosystem?
Artists need support from several directions and the most expedient way to provide that is to collect their work. Even a small purchase is meaningful and can take many forms, whether the artist works with a gallery or not. The inconsistencies of making a living as an artist are brutal, with extreme cycles of ups and downs. Many artists give up when the low periods seem endless or when they start a family because the financial pressure is overwhelming. Cost of living has increased to such an extent that this has become more common.
Grants and financial awards are hard to come by and many regions of the US don’t offer anything for individual artists. This can be corrected by providing funding for annual grants or awards that are designated specifically for individual artists, not a non-profit or an educational program… just the artist alone. Small grants of $1,000 can make a difference if larger funding is not accessible.
Education in and exposure to the visual arts is another critical component if real gains are to be made. We must demonstrate that the visual arts matter to our society and that artists are contributing to cultural history. The visual arts should be available in every level of education so that the students see how art shapes history and creates society.
What do you think is the goal or mission that drives your creative journey?
My goal is to create artwork that captures the feeling of being immersed in light and color, which is basically what we live in all the time. There are also references to the backlit screen and how it has altered our vision.
The sculptural arrangements I make are temporary and do not survive the process; this is important because it parallels our own fragility. The final photograph documents the temporary sculpture. I think my work comes across differently as a result of this short life span.
Contact Info:
- Website: http://katepetley.com/
- Instagram: @katepetley
- Facebook: Kate Petley
- Linkedin: Kate Petley
Image Credits
All Images Courtesy of Kate Petley