After having had to postpone Katherine’s exhibition earlier this year due to the lockdown, we decided to catch up with her, take a look at her work, and ask some questions!
Intaglio
Website: http://www.katherine-rhodes-fields.com
Facebook: https://www.facebook.com/KatherineRhodesFields/
From the Plague Doctor Series
The image of the plague doctor mask and costume allows for a large conceptual, technical and mark-making research within my art making process and has been doing so for the past fifteen years. Most images of the figures within the work manifest a contemporary interpretation of a tronie (an image of a head, face, or expression, but not a formal portrait), where the human figure wears a plague doctor mask, or rather my exaggerated and distorted version of the historical mask. The mask, as a consistent image throughout, is intended as both a direct metaphor for the ignorance that burdens humanity despite the era or advances in technology and how humanity is destined to wear this mask as a penance for tradition and circumstance. The actual mask (and the rest of the costume) used by the doctors during plague outbreaks was for protection from what was thought to be a miasmatic disease (airborne or from bad air). Survival depended on the knowledge available during this harrowing time and now we know that the intended protection was futile. The prints also mirror how in life we depend on masks of ignorance to perform, as in theatre, specifically Commedia dell’arte. The character roles, types and themes found in Commedia dell’arte depend on physical masks to perform parodic scenarios to bring about awareness of political, economic or social crisis, but all the while, the performer hides his true identity and individual voice, strapped by the weight of tradition linked to what the mask represents.
The images provided are based on a collaboration with my friend Alastair McEwan, PhD, from the Institut de Génétique et de Biologie Moléculaire et Cellulaire in Strasbourg France, where he created molecular renderings of the toxins found in specific plants I used in a series titled Dangerous Beauty. The comparison I exhibit in these works is between the innate beauty in nature (physical as in the plants and human nature that desires to be surrounded by beautiful things) and the actuality of its toxicity. While the images intentionally illustrate and glorify the toxic plants, the work relates to and contrasts with our base attraction to beautiful things, while as a whole body of work I use it to promote caution. My empirical research proves that the affectation of one seeking fulfilling pleasure through beauty alone, will only stir repulsion, if not the death of one’s soul. The quest to fulfill one’s life with beauty without nourishing substance is typically derived from one’s lack of knowledge followed by poor judgment or denying the existence of danger that waits below the surface of what we consider beautiful. The mask then becomes the barrier between the two, but wearing it is a worthless measure.
In life we are plagued by ignorance when it comes to love, jealousy, finances, relationships, status, beliefs, politics, science, habits and death, yet, in some ways, we use this taxing obliviousness to protect ourselves. The current pandemic points to this fact as well.
When did you first discover art, or realize you wanted to be an artist?
I was born and raised in the home state of Elvis, the home of Faulkner’s acceptable run-on-sentence, a state of idiosyncrasies, the state of Mississippi. I was also born the fourth of five children, into a family where education, the arts, manners and wearing pantyhose to church were prioritized (not always in that order). As a child, during visits with my Grandmother, an artist and art educator in the Vicksburg public schools, I learned how to carve images to print, usually a potato or Styrofoam meat tray, paint with watercolor and draw from observation. From time to time she allowed me to load up the film and use her camera. I poured over books that were well above my reading level just to see the images and eventually found connecting points with the image and the words. I feel that by and large all of these personal historical factors have in one way or another, informed my practice, observations and outcomes that are noticeable in my art.
Mixed Media
Mixed Media
Where did your current practice begin and how has your practice evolved?
As an extension of this type of rearing and exposure to a diverse and rich culture my home state offered to me, my creative and academic pursuits were encouraged throughout my life, leading to awards, scholarships, Art School in Glasgow Scotland, a bachelor’s degree from the University of the South (commonly known as Sewanee) as a double major in Fine Art and History (European), two masters degrees, MFA in Printmaking and MA TESL from the University of Mississippi (i.e. Ole Miss), academic and journal publications, national and international exhibitions, collaborations, tv specials, national and international workshops, independent film festivals juries, guest speaker presentations, printing broadsheets for writers (a Pulitzer prize-winning author once), invitations for international art colonies and my art being acquired into multiple private, public and museum collections both in the United States and abroad.
What does your process look like? How/where do you source your materials? Do you do any research or planning in advance? What ideas or themes are you exploring in your practice?
The primary medias I use in my work are printmaking, drawing, and photographic processes (digital and analog). Observations from growing up in the religious and complex rural south, leaving the region and eventually the country, as well as my personal journey through academia and the challenges of the mundane have influenced and eventually manifested into the images and chosen processes in my artwork.
Where do you find inspiration? How do you stay motivated in or out of the studio?
Examining how our shared world history, philosophies, and images throughout time can be revisited, visually juxtaposed, and eventually contemporized, is also a means of inspiration to my work. I have been working on my plague doctor series for over fifteen years and I enjoy revisiting the concept between other ideas and projects.
Mixed Media
Mixed Media
What are you working on right now? Tell us about any current or upcoming projects you have.
I am continuing to work on ideas not related to an exhibition in my home studio, an extension of my work on confluences (cutting circles from old proof prints, commercially printed paper, and magazines) in addition to making plague doctors with transparent masks as veils. Due to the COVID-19 pandemic, my two-person show at Box 13 was delayed so I will continue preparations for that show featuring my Scratch and Sniff work.
How has the COVID-19 crisis impacted the way you’re creating? How has your process changed?
It has actually allowed me to organize my materials and workspace as well as create a website dedicated to my plague doctor artwork. My work is being noticed more now since it is considered topical, however, I think that it was always relevant. It’s just now that people are beginning to see the connections between the mask in my art and the masks we are having to wear.
Are you engaging with the art world during this time? How are you replacing openings/seeing work in physical spaces? (ie: online crits, virtual openings, artist talks, etc.)
I’m visiting more artist websites, doing virtual museum tours and participating in virtual talks with writers and artists.
Tell us about your studio space. Has it changed due to COVID? What’s the most interesting thing in your studio?
I am very fortunate in that I have two workspaces in my home. I have what I call a “clean studio” where I do my digital work, bookbinding, and do prep work for processes, like sketches or when I need my light table. In essence, it is for anything that does not require printing ink or any material that could ruin a beige carpet. In my garage, “the print shop” is where I can make a mess of things. Everything, from presses to shelving, is on casters with the exception of one stationary workbench and my book press. This is so that I can reconfigure the space based on what I am trying to make. The most interesting thing in my studio is my mobile worktable. It is enormous and I love it so very much. It has a laminate countertop and the base is all flat files with secret storage inside of the table. We added casters and stoppers to it so I can move it about with ease.
Intaglio
What are the most rewarding aspects of what you do? What about the most challenging?
The reward is to create something and to problem solve along the way. The challenge is to not make every clever creation into a precious item or every failure into a ruinous affair.
What do you wish you had known earlier in your artistic career that could help others?
Document your work well (use good lighting when you take the pictures and use a solid naming system for the digital files). Also, keep track of where your art goes when you sell it or give it away.
Is there anyone who has influenced you on your creative journey? What have you learned from them?
On my journey I have crossed many paths with amazingly talented people from all walks of life and from all over the world. I have shared experiences with them that could fill many genre of novel as well. What I’ve learned through it all is that honesty and acceptance of someone is the foundation of any creative relationship. For my colleagues who live far away from me and I do not get to see very often, I have learned to never say goodbye, instead I say see you soon and find ways to honor that saying.
What are you reading right now? What artists are you currently interested in?
I enjoy reading short stories. Right now I am reading Walkin’ After Midnight by Joe Ricker. I’ve actually been listening to new music or music that is new to me as I work. I’ve discovered some enjoyable artists like Vistas, Richard Hawley, APRE and VANT.
What are some unusual skills you have used that you never knew an artist might need?
Chemistry. Yep. Basic chemistry is very important for the working artist, especially a printmaker.
What’s the most important piece of criticism you have received?
A critic once said that the images in my work were too esoteric for a general audience. I think about that when I am making or conceptualizing work and try to figure ways to be less so with my imagery.
Is there anything else you’d like to add?
I appreciate you all inviting me to participate. See you soon.