Kathy Butterly Review
KATHY BUTTERLY
Tiffany Botts
Written for ART IN AMERICA
I chose this magazine because it focuses on the contemporary art world. This includes the artist’s bio and style, information about movements in art, show reviews and event schedules. It is designed for artists, art professionals, collectors, vendors, and other consumers who are interested in every aspect of the art world. The magazine contains thorough descriptions and opinions of painting, photography, and sculpture.
The art of Kathy Butterly is axiomatic of the human body - audacious. It evokes an uncomfortable feeling that seduces cognizance.
Her vibrant earthenware and porcelain bodies display experience and intuition with their eccentric shape, adornment, small scale, and intricate detail. One may view her work as a series of self-portraits. Networking and connections have her regularly invited to shows. Her works are represented in numerous galleries including The Detroit Institute of Arts, the Museum of Modern Art, the Carnegie Museum of Art, and the de Young Museum, San Francisco.
Anatomical references may be seen throughout Butterly’s work. The pottery flows in a provocative manner, while the color is often suggestive of female anatomy. Her work is personal; created as an emotional outlet. The technique is unique; slip is poured into a hemispheric mold to be manipulated as she sees fit. It could change at any given moment. If Butterly reacts to the form, she continues to work with it; if not she recycles it and starts fresh.
In her series of “Heavy Heads,” Butterly’s forms begin a metamorphosis. As an artist living in New York City during 9/11, these pieces were created as a means of escape from the terroristic attacks. They become closed, timid looking creatures that appear to have collapsed under tremendous burden. Heavy Head, 2003 closely resembles the anatomical structure of the stomach. The fleshy oval mass is attached to a cylindrical shape that has suctioned itself onto a green
Tiffany Botts
Written for ART IN AMERICA
I chose this magazine because it focuses on the contemporary art world. This includes the artist’s bio and style, information about movements in art, show reviews and event schedules. It is designed for artists, art professionals, collectors, vendors, and other consumers who are interested in every aspect of the art world. The magazine contains thorough descriptions and opinions of painting, photography, and sculpture.
The art of Kathy Butterly is axiomatic of the human body - audacious. It evokes an uncomfortable feeling that seduces cognizance.
Her vibrant earthenware and porcelain bodies display experience and intuition with their eccentric shape, adornment, small scale, and intricate detail. One may view her work as a series of self-portraits. Networking and connections have her regularly invited to shows. Her works are represented in numerous galleries including The Detroit Institute of Arts, the Museum of Modern Art, the Carnegie Museum of Art, and the de Young Museum, San Francisco.
Anatomical references may be seen throughout Butterly’s work. The pottery flows in a provocative manner, while the color is often suggestive of female anatomy. Her work is personal; created as an emotional outlet. The technique is unique; slip is poured into a hemispheric mold to be manipulated as she sees fit. It could change at any given moment. If Butterly reacts to the form, she continues to work with it; if not she recycles it and starts fresh.
In her series of “Heavy Heads,” Butterly’s forms begin a metamorphosis. As an artist living in New York City during 9/11, these pieces were created as a means of escape from the terroristic attacks. They become closed, timid looking creatures that appear to have collapsed under tremendous burden. Heavy Head, 2003 closely resembles the anatomical structure of the stomach. The fleshy oval mass is attached to a cylindrical shape that has suctioned itself onto a green