January 20, 2017

With its fan structure (giving the impression of solidity when fully open and at the same time existing in the fragments of its separate spokes), glossy deep blue palette, and snowy scene of a central but distorted frame house in the midst of bare branched trees, Mercy Snow House ©1996, is about the inevitability of loss. The fan shape and its possibilities interest me. I looked at examples of advertising fans – popular as a promotional giveaway items before air conditioning was common. In my piece, the word mercy is used instead of the name of a product, business or candidate.



December 14, 2016

This morning the first snow of the season fell delicately on the overgrown taxus branches outside my kitchen window. As the temperatures rose slightly it turned to rain. On this grey morning, close to the year’s end, I share with you this detail from my artists' book Rain Comes in July, ©1999, that imagines rain as a visitor with super powers of invisibility and being in more than one place at a time.

August 31, 2016

Something about being able to see the horizon stretching out, apparently without end; could be while driving across the flat part of Ohio or (as is the case here) gazing out across the ocean, things slow down and the static voice in my mind shuts up. Looking out and all around, I can feel connected to and engaged by this larger whole in a way that is peaceful but not passive.

This detail comes from a series of drawings using a fan structure ©1996.



August 24, 2016

Made from parts generated (circa 2005) and put aside as my process led elsewhere, this untitled piece now joins several others like it on my studio wall. All were included in my recent site specific installation Second Sight Canopy, among other things a riff on the idea and fact of a personal archive. The 4 arms or spokes feature a text made of song titles that name a place, each phrase begins with “in…” or “in the…” Here the phrase in the blue of evening is not quite completely visible. This transparent turquoise blue continues to be an important part of my vocabulary, evoking qualities of memory, distance, the sky/heaven, and water.



April 6, 2016

In 1997 I purchased a German book of blood and bone diseases from the book sale cart in the University of Cincinnati’s Health Science Library. A small square black and white drawing, titled Fig.572 Myelom, with a detailed polka-dot composition caught my eye and I started using it as an overall pattern in my drawings and works on paper, often with a palette of blues, sepia and raw sienna and often as a background layer as shown in this test image. 





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SECOND SIGHT is a 24 month project to revisit, reconnect, and share 30+ years of my own studio work (drawing, works on paper, artists books, installations) and featuring work, ephemera and  projects of other artists that have enriched my personal and working life over this time period.


Via weekly posts that move forward by linking some aspect of the previous post to the current one and using tags as a creative way to search the ongoing entries – Second Sight will grow into an alternative archive.


I invite you to join me at any and all points during this probably odd but hopefully compelling voyage.

Finding Connections in a Drawn World

KATE KERN  Visual Artist