KIRSTIN LAMB

BIO

Kirstin is a painter living in Providence, Rhode Island and working in Pawtucket, Rhode Island.  Kirstin studied painting at the Rhode Island School of Design, graduating with an MFA in 2005. She began her studies as a literature student at Brown University, graduating in 2001 with Bachelors degrees in both Literatures in English and Visual Art.  Kirstin’s work has been shown in venues across the country and abroad, recently showing in group shows at the Carole Calo Gallery at Stonehill College in Easton, MA The Duxbury Art Complex Museum in Duxbury, MA, New Bedford Art Museum in New Bedford, MA, the Wassaic Project in Amenia, NY, the Bedford Gallery in Walnut Creek, CA, the Yellow Peril Gallery in Providence, RI, the Lentos Museum in Linz, Austria and Bunker Projects in Pittsburgh, PA among others.  She has attended residencies at the Atlantic Center for the Arts, Vermont Studio Center, Bunker Projects, the Wassaic Project, the Kimmel Harding Nelson Center for the Arts, and the Sam and Adele Golden Foundation.  Kirstin's work is represented by Darger HQ gallery in Omaha, Nebraska, where she has shown most recently in 2016 with artist Anthony Hawley in the two person show “A Hex, A Host, A Guest, A Ghost”.  

Site images photographed by Karen Philippi Photography unless otherwise noted.

CV PDF

JOIN MY MAILING LIST

 

Gallery Contact

Darger HQ / www.dargerhq.org

 

About My Installations

Over the past few years I have dedicated myself to a series of arrangements of paintings and props in space.  I lean pictures on top of one another, hide one patterned canvas beneath another laden with similarly heavy pattern, or stack pictures on top of painted rugs.  I have made hide rugs and begun to make wall treatments, all hand painted.  In addition to rugs and patterned works I include portraits, floral flights of fancy, images reminiscent of sweaters, color wheels, or hex signs.  There is a kind of demented devotion to hand painting every last detail.

I make labor-intensive images of labor-intensive textiles. I image the interior of my domestic space and my studio as a domestic space.  The landscape I image is a fictional decorated interior populated with images of exterior landscapes and flora.  I describe my confines or limits, and the possible extensions and decorations of place.  My recent work confuses the interior and the exterior with small forest and outdoor thicket imagery, leaning paintings and images of the artist’s studio, hand-painted rugs, hex signs, embroidery paintings, pictures of interiors, florals and wallpaper, painted drop cloths, patterned images, and stuffed canvas sculpture. 

I re-image my own work, embroideries, and art historical imagery.  My process involves a practice of using my paintings as props in still life paintings or interior paintings.  I create paintings to paint them again.  I re-use paintings in multiple arrangements, as interchangeable objects in an endlessly rotating still life or display.  So this is both something new and something reused.  Each installation contains many new purpose-made artworks and also many reused objects.

I call the gridded high-detail paintings on transparent acetate embroidery paintings. Many of the embroidery paintings I have in each installation are images of floral wallpaper cropped from French wallpaper of the 17th, 18th and 19th century.  All other embroidery paintings were made using vintage embroidery patterns from the 50s, 60s and 70s or generated from my own photography, primarily of landscapes and portraits.  In order to paint the images that are not already patterns set on a grid, I generate a digitized grid and paint each gridded stitch by hand with acrylic and acrylic gouache on Durarlar (wet media acetate).