Kate Shepherd
Eavesdropper, 2019
Enamel on panel
52 x 46 inches (132.1 x 116.8 cm)
(Photographed with reflections)
(GL 14292)
Kate Shepherd
Earth, 2019
Enamel on panel
50 x 43.5 inches (127 x 110.5 cm)
(GL 14290)
(Photographed with reflections)
Kate Shepherd
Helena Lights, 2018
Screen print and enamel on panel
52 x 45 inches (132.1 x 114.3 cm)
Kate Shepherd
Selfie, 2017
Enamel on panels
68 x 44 inches (172.7 x 111.8 cm)
Kate Shepherd
Red Cube, look, 2016
Enamel and laser-cut wood
46 x 43.5 inches (116.8 x 110.5 cm)
Kate Shepherd
dark bic, colonnade, thread in wind, 2016
Oil and enamel on panel
42 x 30 inches (106.7 x 76.2 cm)
Kate Shepherd
His Mistake, 2013
Oil and enamel on panels
40 x 56 inches (101.6 x 142.2 cm)
Kate Shepherd
Central Park, 0975, 2012
Cut plywood and acrylic paint
23.5 x 17.25 inches (59.7 x 43.8 cm)
Kate Shepherd
Nina Simone Sings Pirate Jenny #50A, 2019
Screen print on Coventry Rag paper
40 x 25 inches (101.6 x 63.5 cm)
Framed: 42 x 27.25 x 2 inches (106.7 x 69.2 x 5.1 cm)
Edition 1 of 1
GL14508.1
Kate Shepherd
Drummer Parent Olive 70, 2010
Oil and enamel on wood panels
90 x 50 inches (228.6 x 127 cm)
Kate Shepherd
I Silver, February Snow, 2007
Acrylic and acrylic lacquer on wood panels
85 x 48 inches (215.9 x 121.9 cm)
Kate Shepherd
Triangle Study_37, 2013
Cut screen prints, taped
51 x 21.75 inches (129.5 x 55.2 cm)
Known for her richly colored paintings built with layers of monochromatic enamel, Kate Shepherd’s decades-long exploration of perspectival space investigates the relationship of paintings to their environs; the various reflective surfaces establishing a spatial discourse across the panel, the viewer, and the gallery space. Panels in materials like wood and aluminum that connote the architecture for which the paint is meant form the basis of the paintings. This method results in a gleaming, reflective surface, which allows the viewers to see their own reflections and also guards the intimate image from view. Using methods such as hand painting thin linear constructions and interrupting the surface by sanding the glossy enamel, Shepherd incorporates geometric forms in her work that imply dimensional space on the two-dimensional surface. Being situationally reactive to light and movement, the paintings take on sculptural characteristics in their constant change. The artist’s oeuvre also encompasses works on paper, which examine her constantly evolving exploration of color.
Shepherd has exhibited at museums and galleries across the United States and Europe since 1994. Her most recent museum solo exhibitions include Kate Shepherd: Lineaments, Charlotte and Philip Hanes Art Gallery, Wake Forest University, North Carolina, and Intersections: Relation to and yet not (homage to Mondrian) by Kate Shepherd, Phillips Collection, Washington, D.C. Shepherd’s work is featured in numerous museum collections including the Buffalo AKG Art Museum, New York; Baltimore Museum of Art, Maryland; Eli and Edythe Broad Art Museum, Michigan; Des Moines Art Center, Iowa; Indianapolis Museum of Art, Indiana; Los Angeles County Museum of Art, California; Museum of Fine Arts Boston, Massachusetts; Phillips Collection, Washington, D.C.; Scottsdale Museum of Contemporary Art, Arizona; and Seattle Art Museum, Washington.
The artist lives and works in New York City, where she was born in 1961.
Held on Thursday, July 29, 2021
Watch recording here
by Emily Hall
by Ridley Howard
by Lilly Wei
