Today we’d like to introduce you to Kate Colin.
Thanks for sharing your story with us Kate. So, let’s start at the beginning and we can move on from there.
My work consists of drawing, watercolor, acrylic and oil media. I got started painting in my childhood. My grandfather was an artist during the Abstract Expressionist era. He isn’t anyone you would know, but I grew up with abstract art on the walls and a family that encouraged me to pursue fine arts from a young age. I can remember painting when I was young, and I always had a wealth of creativity with everything I did.
When I started college in 2003 at University of North Texas, I had it in my head that I needed a degree that would ensure a stable job in order to support myself so that I could pursue my fine art interests. I initially planned on going to law school, and by my second year, I had declared myself a painting major. Encounters with influential teachers along the way shaped my desire and commitment to keep painting. I remember having an intuitive feeling that what I was doing what was right for me. I ran with painting, quite prolifically early on, and without over thinking it, despite a massive amount of rejection that many young artists face.
I went to graduate school at University of Dallas and continued to deepen my explorations and experimentation with painting. My grandfather’s work had an impact on my early work. I was deeply drawn to making strictly abstract nonobjective work. What I mean by nonobjective for my work is that I made the work without any reference to anything in the visible world. I painted out of my head, and early on, I gravitated toward the idea that the process or act of making the work was more important than the actual outcome of the painting itself. I thought of my work as a series of experiments. In graduate school, I was able to take these ideas and begin to combine them with opposing methods and enrich the work with developing content. I became interested in exploring how math can be represented in art, but in a way that no one would expect or perhaps even recognize as math. I had supported myself through college partly by being a math tutor for nearly a decade, so this is a topic familiar to me. Eventually I began to gain some recognition by the time I graduated from University of Dallas with my Masters of Fine Arts in 2012. I received the Kimbrough grant through the Dallas Museum of Art, and I gave a public lecture about the work I had been doing in graduate school.
From there I began teaching at the college level, which is another passion of mine. Until recently, I had been a full-time Lecturer within Core Drawing at the College of Visual Art and Design, University of North Texas, Denton. While I have taught over the past six years, I have developed as an artist with annual solo exhibitions. I was a member at 500X Gallery in Dallas for two and a half years.
Teaching is an amazing way to stay connected to an artist community which helps my work continue to thrive. I relish the exchange of energy that I give and take from teaching.
As of now, I am represented at Beaudry gallery in Dallas. I still teach part time.
Overall, has it been relatively smooth? If not, what were some of the struggles along the way?
Teaching as an adjunct for two years before getting a full-time job was both exhilarating and beat down. I am so thankful that I spent the time teaching six classes at three universities for ONLY two years. I learned a lot and I developed as an educator and an artist. I met lots of people and grew so much. But I could never repeat that time. Especially now. I have a husband and a baby boy. When I was an adjunct I could afford to make all the sacrifices of working all the time because it was just me pursuing my dream. I would get up at 5 am to drive from Dallas to Denton for an 8am class. After teaching two classes, which for art classes that means 3 hours each, I would drive to another university for an afternoon class. I did what I had to survive. At the end of the day, I would prepare for the next day’s classes. Thankfully at the end of the week I would paint. Looking back it was a blast just not sustainable.
Alright – so let’s talk business. Tell us about Kate Colin – what should we know?
My studio practice consists of 2D work that interprets expansive hypothetical spaces, inspired by mathematical theories, physical infrastructure, and nature. Within my work, I attempt to combine oppositional elements and approaches to image making. In a single work, I may reference painterly abstraction, geometric hard-edge abstraction, still life drawing, 3D rendering, Photoshop gradients, highways or my body. My work is rooted in process, both unpredictable and systematic, and the different techniques side by side create ambiguous space. In my current work, built up oil paint exists alongside areas of raw stained canvas or graphite drawing. This method allows the viewer to see the various stages of the drawing and painting while creating dynamic interplay of figure and ground.
Any shoutouts? Who else deserves credit in this story – who has played a meaningful role?
I’m incredibly thankful to my mother, Liz Presley, and father, Craig Colin, for always letting me figure myself out, taking me to art museums, signing me up of art classes as a kid, and encouraging my pursuits as an artist.
The late Rob Erdle was one of the most inspirational teachers I have ever encountered, and I try to follow in his footsteps.
My professor in graduate school, Kim Owens, has been an outstanding mentor to me during graduate school as well as currently. Kim’s work alone is inspiring, and interactions with her are unique and thought provoking. She has a magnetic personality, impeccable wit and an earnest attitude.
Robert Milnes is the Dean who hired me for my first full-time teaching position at UNT. He is a supportive and kind man. He went out of his way to attend an exhibition of mine. He has shared his wisdom and warm encouragement.
Annette Lawrence, Rachel Black, and Elaine Pawlowicz have been supportive and amazing colleagues to work with at UNT.
Michael Francis, the gallery director at Beaudry Gallery, is my advocate. I’m grateful to have his support and comradery as we work together.
My artist friends Rachel Muldez and Jennifer Siebert are supporters and part of my community to keep me motivated. And many more.
Contact Info:
- Website: www.katecolin.com
- Email: katecolinart@gmail.com
Image Credit:
Harrison Evans
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