We talked a bit about process. Kathy does a lot of adding and removing when working on a painting. There are these supremely subtle and delectable shifts of color and mark making found in every inch of her work. When I looked closely I could see a house hidden behind the large supernatural polka-dot ball that seemed to have landed softly, lighting up the night sky. I asked about her smaller works, if making them gave her any kind of immediate pleasure that the bigger works could not. She laughed and said yes. They are so satisfying to look at too. Scaling down the ships so that they might be held in a hand seemed like yet another way to question their importance and weight.
Our time went by so quickly. As I stared at the painting of Superman with his legs crossed, as though he was sitting for a portrait, I got lost in all the its magic. I was telling Kathy that often people don't view a work for as long as I do when I draw it, that I get to experience the paintings in a different way, really studying them, each part from top to bottom. By the end I thought I could have lived under those floating colored puffs of air gliding above the man in red and blue. She also gave to me one of the beautiful catalogues she had made with a grant she received from The John Simon Guggenheim Foundation, with photographs and images of her sculptures and paintings, an amazing work of art in its own right. I so enjoyed getting to talk to Kathy and hearing all of her stories. Our conversations were as rich as the visuals. I strongly encourage you to go see her solo exhibition, to get lost like I did. And to see more of her work go to: http://www.kathbradford.com/.