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Copyright 2009 Syd Entel Galleries Susan Benjamin Glass, All rights Reserved.
Kathleen Holmes
Kathleen Holmes grew up in the Deep South, where crochet, sewing,
and embroidery were the utilitarian crafts for generations of women.
In her sculptures, Holmes converts these crafts into art, bringing
traditionally anonymous female handiwork from the margins to the
center. The archetypal dress, Holmes’ signature sculptural format,
pays homage to the generations of women and girls who comprise her
artistic heritage. She incorporates crocheted textiles and found
materials in her sculptures as metaphors for the emotional, social,
behavioral, and spiritual patterns that people live by. She creates her
sculptures much like a seamstress, cutting patterns and using wire
thread to “sew” the galvanized sheet-metal bodices, which rust to
the look of soft suede. Her social commentary is further enlivened by
her engaging titles and puns.
Her sculpture took a new turn when, in 2002, she turned to glass as
the canvas, or foundation, for her sculptures. She casts her glass
structures from fabric-covered forms. Some are solid glass, others are
hollow, allowing light to permeate the translucent material. Recently
her painterly instincts have further embellished works such as
“Dorothy’s Dream” and “Sonnets from the Portuguese” with scenic
images that vividly illustrate the narrative of the works.
and embroidery were the utilitarian crafts for generations of women.
In her sculptures, Holmes converts these crafts into art, bringing
traditionally anonymous female handiwork from the margins to the
center. The archetypal dress, Holmes’ signature sculptural format,
pays homage to the generations of women and girls who comprise her
artistic heritage. She incorporates crocheted textiles and found
materials in her sculptures as metaphors for the emotional, social,
behavioral, and spiritual patterns that people live by. She creates her
sculptures much like a seamstress, cutting patterns and using wire
thread to “sew” the galvanized sheet-metal bodices, which rust to
the look of soft suede. Her social commentary is further enlivened by
her engaging titles and puns.
Her sculpture took a new turn when, in 2002, she turned to glass as
the canvas, or foundation, for her sculptures. She casts her glass
structures from fabric-covered forms. Some are solid glass, others are
hollow, allowing light to permeate the translucent material. Recently
her painterly instincts have further embellished works such as
“Dorothy’s Dream” and “Sonnets from the Portuguese” with scenic
images that vividly illustrate the narrative of the works.
BIRDSONG
Click on the images to the right to see the enlarged version of
Kathleen Holmes' glass art.
Kathleen Holmes' glass art.
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