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Katie Ford

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A Sort of Embrace, 2020
A Sort of Embrace, 2020

Fabric, monotype, spray paint, acrylic paint, thread, wood panel

24”w x 26”h x 5”d

Pass-Through Vibration, 2020
Pass-Through Vibration, 2020

Fabric, screen printing, thread, panel

15”w x 25”h x 5”d

Bright Smudge, 2020
Bright Smudge, 2020

Fabric, screen printing, dye, acrylic paint, spray paint, thread

24”w x 32.5”h x 6”d

Sweet Broken, 2020
Sweet Broken, 2020

38”w x 36”h x 8”d

Fabric, screen print, spray paint, monotype, thread

(Detail) Sweet Broken, 2020
(Detail) Sweet Broken, 2020

38”w x 36”h x 8”d

Fabric, screen print, spray paint, monotype, thread

Hum Hold, 2019
Hum Hold, 2019

Monotype on paper and dyed silk, wood and metal rods, acrylic paint, thread, monofilament

Installation view, dimensions variable

Hum Hold, 2019
Hum Hold, 2019

Monotype on paper and dyed silk, wood and metal rods, acrylic paint, thread, monofilament

Installation view, dimensions variable

Gathering, 2018
Gathering, 2018

Silk, wood, metal rods, acrylic paint, contact paper, thread, monofilament

Installation detail, dimensions variable

Gathering, 2018
Gathering, 2018

Silk, wood, metal rods, acrylic paint, contact paper, thread, monofilament

Installation view, dimensions variable

Gathering, 2018
Gathering, 2018

Silk, wood, metal rods, acrylic paint, contact paper, thread, monofilament

Installation view, dimensions variable

Finding Our Edges, We Lose the Signal, 2018
Finding Our Edges, We Lose the Signal, 2018

Monotype on layered paper

19.75” x 30”

February Heat Drunk, 2018
February Heat Drunk, 2018

Monotype on paper

20.25” x 30”

Armfuls, 2018
Armfuls, 2018

Monotype on layered Japanese paper

20” x 30”

Sweat Memory, 2018
Sweat Memory, 2018

Monotype on layered paper

22.5” x 30”

Parenthesis, 2017
Parenthesis, 2017

Fabric, acrylic paint, natural and fiber reactive dyes, silkscreen, thread

55.88" x 48.5"

The Tools for Grounding, 2017
The Tools for Grounding, 2017

Fabric, fiber reactive dye, natural dyes, acrylic paint, oil stick, thread

39" x 54.75"

Wearing Softness in a Hard Place, 2017
Wearing Softness in a Hard Place, 2017

Fabric, acrylic paint, silkscreen, toner, floor wax, natural dye, thread

64" x 65"

Two Bodies, 2017
Two Bodies, 2017

Fabric, acrylic paint, India ink, fiber reactive dye, natural dyes, silkscreen, thread

44.13" x 61.38"

No Words for Circles, 2017
No Words for Circles, 2017

Fabric, fiber reactive dye, natural dyes, acrylic paint, thread

57.25" x 67"

A Sort of Embrace, 2020 Pass-Through Vibration, 2020 Bright Smudge, 2020 Sweet Broken, 2020 (Detail) Sweet Broken, 2020 Hum Hold, 2019 Hum Hold, 2019 Gathering, 2018 Gathering, 2018 Gathering, 2018 Finding Our Edges, We Lose the Signal, 2018 February Heat Drunk, 2018 Armfuls, 2018 Sweat Memory, 2018 Parenthesis, 2017 The Tools for Grounding, 2017 Wearing Softness in a Hard Place, 2017 Two Bodies, 2017 No Words for Circles, 2017
CV available here
Full Statement of Intent

Brief Artist Statement

I see our movement through human connection as a navigation in parallel to physical space. My work considers how we relate to each other. How do we engage? What filters mediate our interactions? What is visible or blocked?

I interrogate these questions through installations, textiles, and works on paper. A bright haze emerges from accumulated layers of monotype on translucent tissue. Sun-soaked planes of fabric are suspended in the air. They divide viewers whose patterns of travel through the gallery are punctuated by moments of solitude.

In an effort to solidify the vividness of emotion and interrelation, color has become my language of choice. Originally pulled from the earth’s materials, it is grounded in place. It is intricately tied to culture through ritual and commerce. And inevitably, it tracks time as it fades or turns under the influence of sunlight, washing, or decay.

Currently focused on mixed media textiles, my most recent work uses transparency and physical collapse to explore our prolonged phase of collective overwhelm. Fabric has grown to be a significant part of my practice, as it gestures towards intimacy and commonality. In the words of Ann Hamilton, cloth is “the body’s first surround… a hand always touching us.” Whether a barrier, warmth or tool, the material recalls how we inhabit our days.

Of course, when considering how we relate, this year has brought many shifts. We have internalized a heightened awareness of the spaces between us - an orbit of six feet, the shape of a screen, the impermeable format of a video call. These gaps filter moments of distance and connection. We are simultaneously transfixed and deflated. I aim to create work that holds this dichotomy. A dense and shimmering patchwork sags with the weight of its own form.

Letters of Recommendation

  • Ohio State University - Columbus: Letters submitted by recommenders via Slideroom - Due December 31, 2020

  • University of Georgia - Athens: Letters submitted by recommenders via Slideroom - Due January 1, 2021

  • University of Chicago: Letters submitted by recommenders via application portal - Due January 4, 2021

  • University of Michigan - Ann Arbor: Letters submitted by recommenders via application portal - Due January 6, 2021

References

These schools do not require letters during the submission process but will reach out directly if they need a reference.

  • UCLA

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