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SERAPHIN GALLERY
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Tomb
Tomb

Kate Stewart, Tomb, 2015, Acrylic on panel, 20” x 20”

Tomb 2
Tomb 2

Kate Stewart, Tomb 2, 2016, Mixed media on canvas, 30" x 24"

Afterimage
Afterimage

Kate Stewart, Afterimage, 2014, Acrylic on panel, 24” x 36”

Derecho
Derecho

Kate Stewart, Derecho, 2013, Acrylic on canvas, 24” x 24”

Faux Vignette
Faux Vignette

Kate Stewart, Faux Vignette, 2014, acrylic on panel, 36” x 36”

Lone Firework
Lone Firework

Kate Stewart, Lone Firework, 2012, Acrylic on canvas, 24” x 24”

Inflow/Outflow
Inflow/Outflow

Kate Stewart, Inflow/Outflow, 2016, Mixed media on canvas, 33” x 45”

MJ Aura
MJ Aura

Kate Stewart, MJ Aura, 2015, Acrylic on panel, 20” x 20”

Pink Eclipse
Pink Eclipse

Kate Stewart, Pink Eclipse, 2016, Mixed media on canvas, 42” x 30”

Red Eclipse
Red Eclipse

Kate Stewart, Red Eclipse, 2016, Mixed media on canvas, 48” x 36”

Socialist Holiday Daydream
Socialist Holiday Daydream

Kate Stewart, Socialist Holiday Daydream, 2017, mixed media on canvas, 48” x 36”

Song For My Father
Song For My Father

Kate Stewart, Song For My Father, 2014, Acrylic on panel, 16” x 20”

Spring Storm
Spring Storm

Kate Stewart, Spring Storm, 2014, Acrylic on panel, 36” x 48”

Tomb Tomb 2 Afterimage Derecho Faux Vignette Lone Firework Inflow/Outflow MJ Aura Pink Eclipse Red Eclipse Socialist Holiday Daydream Song For My Father Spring Storm
 

Stewart’s unique sense of space creates compositions that attempt to visualize the unknown.  With a vibrant and emotional palette, the artist portrays open doors that seem to organically unveil themselves to the viewer, but what remains uncertain is where these entryways will lead.  Brushy shapes and gradient tones convey a wide open space like that of a day lit or sunset sky; although the viewer is keenly aware that this is not an actual representation-- but a void.  It would seem that Stewart’s works lead to a very specific place and also nowhere at the same time. 

To dive into one of these paintings is to accept a journey through a gateway into the unexplored and risking that what is on the other side may be darker and more mysterious than previously thought.  And yet, it could also be a space where elation is constant and personal truth is found. The viewer is perpetually caught in this liminal space of transition—in the amorphous obscurity before the clarity of change.

Stewart’s brushstrokes and blending of paint is reminiscent of the color field painters of the 1960s, as well as certain lyrical and minimalistic works by Helen Frankenthaler and more recent works by Howard Hodgkin. 

By Alyssa Laverda, Associate Director, Seraphin Gallery


Installation Images

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Seraphin Gallery, 1108 Pine Street, Philadelphia, PA 19107.  O: 215. 923. 7000.  E: anthony@seraphingallery.com