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Kristina Arnold
September 4 - September 25, 2010
Kristina Arnold has exhibited in solo and group exhibitions across the
United States, has been the recipient of numerous fellowships and has
held artist residencies in both the US and abroad. Currently on the
art faculty at Western Kentucky University, she received her M.F.A. in
2003 from the University of Tennessee in Knoxville and her BA in
Public Health from Brown University. Before returning to art school at
UT, Arnold worked for five years at Brown and Vanderbilt Universities
conducting epidemiological research. She is interested in the
relationships between illness, biomedicine and health, and the ways in
which we manufacture, manipulate and control both our bodies and our
environments.
Artist Statement
My story is familiar, my worries are shared. I look across the
landscape of our south-eastern-mid-western border region and I see
the shift that has been occurring. My husband is the first in five
generations to leave the family farm. The farm remains but can no
longer sustain a family, their income swallowed by the giant
agribusiness industry. Next door, the high-dollar developments
encroach upon his family’s land, so you, too, can buy a million dollar
weekend cabin in the country.
I worry about the insustainability of the strange middle lands known
as suburban America where we now live, where the strip mall and the
lawn – that American invention and obsession – are king. We continue
to corral, manipulate, pave over and remove our landscape. We fence it
in or out.
We have an obsession with the perfect and the plastic. Our food, our
environment and our bodies are chemically and genetically modified.
The re-useable has been replaced by the throw-away. The handmade
has been replaced by the mass-produced, and now that mass
production is moving to China. We worry not as we don our
pharmaceutical smiles.
How long might it be before the natural, the individual, the
hand-made, the small, the imperfect, become a memory, a museum
artifact? The new nature is attractive – but slick, difficult to
digest and ultimately unsatisfying.
But I still hold out hope. I have always been a Pollyanna. There can
be beauty in the ugly, and the sublime in the inconsequential.
September 4 - September 25, 2010
Kristina Arnold has exhibited in solo and group exhibitions across the
United States, has been the recipient of numerous fellowships and has
held artist residencies in both the US and abroad. Currently on the
art faculty at Western Kentucky University, she received her M.F.A. in
2003 from the University of Tennessee in Knoxville and her BA in
Public Health from Brown University. Before returning to art school at
UT, Arnold worked for five years at Brown and Vanderbilt Universities
conducting epidemiological research. She is interested in the
relationships between illness, biomedicine and health, and the ways in
which we manufacture, manipulate and control both our bodies and our
environments.
Artist Statement
My story is familiar, my worries are shared. I look across the
landscape of our south-eastern-mid-western border region and I see
the shift that has been occurring. My husband is the first in five
generations to leave the family farm. The farm remains but can no
longer sustain a family, their income swallowed by the giant
agribusiness industry. Next door, the high-dollar developments
encroach upon his family’s land, so you, too, can buy a million dollar
weekend cabin in the country.
I worry about the insustainability of the strange middle lands known
as suburban America where we now live, where the strip mall and the
lawn – that American invention and obsession – are king. We continue
to corral, manipulate, pave over and remove our landscape. We fence it
in or out.
We have an obsession with the perfect and the plastic. Our food, our
environment and our bodies are chemically and genetically modified.
The re-useable has been replaced by the throw-away. The handmade
has been replaced by the mass-produced, and now that mass
production is moving to China. We worry not as we don our
pharmaceutical smiles.
How long might it be before the natural, the individual, the
hand-made, the small, the imperfect, become a memory, a museum
artifact? The new nature is attractive – but slick, difficult to
digest and ultimately unsatisfying.
But I still hold out hope. I have always been a Pollyanna. There can
be beauty in the ugly, and the sublime in the inconsequential.
Current Exhibits
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Matthew Carver: Vikings
September 4- September 25, 2010
Twist, etc
This series of works was born out of illuminations on 13th c. profane
works from Iceland, and the style is a more-or-less intuitive one only
accidentally resembling a mix of techniques from french “tôle” and
Mexican “maraca” traditions. The figuration is flat, the colors bold,
and the handling quick. I wanted to experiment with the strength of
the symbol and its power to talk about ultimate things. By turns the
bright, almost absurd (are you team red or team blue?) depictions of
violence and reprobation amuse and repulse, and remind us of the
most widely felt ultimate, how “in the midst of earthly life, snares of
death surround us.” In the binary duel to which every facet of the
world is so readily reduced, no one is spared either guilt or gutting.
The detached / placid faces of the actors serve a twofold purpose,
both implicating our own removal from the horror of this present
mortality and directing us to the contemplation of escape from it. In
the last moment, consoled and disconsolate alike look away.
September 4- September 25, 2010
Twist, etc
This series of works was born out of illuminations on 13th c. profane
works from Iceland, and the style is a more-or-less intuitive one only
accidentally resembling a mix of techniques from french “tôle” and
Mexican “maraca” traditions. The figuration is flat, the colors bold,
and the handling quick. I wanted to experiment with the strength of
the symbol and its power to talk about ultimate things. By turns the
bright, almost absurd (are you team red or team blue?) depictions of
violence and reprobation amuse and repulse, and remind us of the
most widely felt ultimate, how “in the midst of earthly life, snares of
death surround us.” In the binary duel to which every facet of the
world is so readily reduced, no one is spared either guilt or gutting.
The detached / placid faces of the actors serve a twofold purpose,
both implicating our own removal from the horror of this present
mortality and directing us to the contemplation of escape from it. In
the last moment, consoled and disconsolate alike look away.
