Katherine Mangiardi

1. How and when you first met Harry Roseman
—- I first met Harry when I signed up for his Sculpture 101 class when I was a sophomore at Vassar College.

2. A statement about your work and/or a brief autobiographical statement.
–My paintings have often been described as ethereal and haunting. I have always been fascinated with absences in history, drawing inspiration from remnants of the past, specifically handmade textiles. In my paintings I use my own imagination to fill in the gaps where these remnants are missing information. My early work focused on my fascination with the obsessive nature of embroidery, lace making and other forms of textiles once made by hand. These pieces of handiwork possessed a beauty of process and attention to detail that is becoming vacant in an age of machine-generated reproductions. As a painter I have found that the experience of creating something, the practice and repetition of a skill is as vital as the outcome. My early paintings were tight and meticulous. I painted each brushstroke similarly to the way a lace maker might have created each stitch of her garment. My increased ability to sit, observe and paint relentlessly has led to more complex paintings and insight into what thread is capable of communicating. Recently, I have started to create installations in historical homes in order to link the historic objects that fascinate me with the people and places from which they originated. I see historical homes as thresholds, places that are neither here nor there that can evoke introspection and emotion. I want to reinvent the history and aesthetics of these places in a way that makes the past feel alive again. I also see the potential of using different historical sites to create separate bodies of work that relate and draw upon one another linking histories and creating fictional narratives between spaces.

February 27, 2010

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