on a much neglected two-hundred-year-old
farmhouse, I found myself haunted by an item
the previous owners had left behind: a large,
mahogany-framed mirror, its silver backing
flaking and tarnished, its massive face murky
I worked on the house, peeling
layers of wallpaper and uncovering walls
constructed within walls, the mirror seemed my
only companion. At
times it reflected tattered shreds of former
splendor, while at other times it showed only
my own dust-streaked face.
Where the mirror’s silvering had eroded
completely, the surface was merely - and
mutely - transparent.
reflect this multi-purposed looking
glass: they both witness and obscure. Using recycled
fragments, I am interested in exploring
women’s historical roles in small,
tightly packed images, which recall
black-framed daguerreotypes. In the pieces,
I synthesize aesthetic styles that women
developed almost exclusively, such as
pressed flower herbariums, millinery,
and hand-stitched samplers.
hope that you will find that looking at the
past provides a new way of seeing our own
Kathryn Kosto's BA and MA are in the
history of art and history.
She has worked in paper conservation of
17th to 19th century prints, engravings,
and maps. She has also worked as a
museum curator at several historic sites,
including the home of Henry Wadsworth
Longfellow (Cambridge MA).
An active (juried) member of the
Woodstock Artists Association and Museum
(Woodstock NY), she has shown
her award-winning work in arts centers
and museums throughout the northeast and
has had solo shows in NY, VT, and
resides in a 1793 farmhouse in Schodack
(NY), and is at work restoring the
orchards and gardens.