Consideration III

        


poetryCOLLAGE: the texture
                  of language

 
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artist's statement

While working 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 and scratched.

As I worked on the house, peeling back 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.

watercolors, textiles, ephemera These collages 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.  

I hope that you will find that looking at the past provides a new way of seeing our own time.

about the artist

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 MA.  Kathryn resides in a 1793 farmhouse in Schodack (NY), and is at work restoring the orchards and gardens.
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