Kelly Householder

bio/artist statement:

I’m a freelance graphic designer, mixed media artist, foodie, cat lover, and gardening wanna be. I love wine, hanging out with my husband, and traveling to new places. Here’s a little glimpse of what my artwork means to me:

I begin my paintings by creating a grid with string or twine. This is the foundation for the painting and a comfortable and therapeutic starting point. I rest in its security as I begin to mold each painting into a series of thoughts and experiences. When the time is right, I set the painting free by ripping away the string system. At this point, the grid no longer dictates the design and each painting begins to take up a life of its own.

My materials consist of fabrics, string, paints, and images transferred on to fabric. I switch back and forth between building and tearing down the layers of my painting to create new spaces and perspectives. I experience and seek to expose life’s cycles of finding freedom amongst the secrets we seldom reveal and the duality of being trapped by their power.

The result of my paintings is a series of experiences viewed all at once. Each piece of the grid is a past memory or a future event. Each fabric, color, string and knot gives detail to that specific memory. An excerpt from Kurt Vonnegut’s Slaughterhouse-five defines the way I view these experiences:

“There are no telegrams on Tralfamadore. But you’re right: each clump of symbols is a brief, urgent message–describing a situation, a scene. We Tralfamadorians read them all at once, not one after the other. there isn’t any particular relationship between all the messages, except that the author has chosen them carefully, so that, when seen all at once, they produce an image of life that is beautiful and surprising and deep. There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects. What we love in our books are the depths of many marvelous moments seen all at one time.”

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  1. Pingback: The Birmingham Art Collective: The Show at Woodlawn Oct. 3rd, 2009 – sara cannon

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