katrina bello

Haze. Smudge. Shadow. Stain.

Sun, 19 May 2013 12:00:00 -0400

Haze. Smudge. Shadow. Stain.

“Smooch”

Fri, 26 Apr 2013 04:21:00 -0400

“Smooch”

click on the image or here to read on

Sun, 21 Apr 2013 10:21:00 -0400

click on the image or here to read on

“Bleed Through On Truth” 2013

Tue, 09 Apr 2013 08:00:00 -0400

“Bleed Through On Truth” 2013

“first crop” 2013

Fri, 05 Apr 2013 16:24:00 -0400

“first crop” 2013

“cutting up batik” 2013

Fri, 05 Apr 2013 16:23:00 -0400

“cutting up batik” 2013

morning hour with painting, Richter, and Mad Men (click here to...

Fri, 22 Mar 2013 13:17:00 -0400

morning hour with painting, Richter, and Mad Men

(click here to read what it’s about)

extracted from Let There Be Dark: a look inside Bill...

Tue, 12 Mar 2013 18:49:43 -0400

extracted from Let There Be Dark: a look inside Bill Brandt’s book of shadows, by Richard Lacayo, March 18, 2013 Time Magazine

from the translated Naturalis Historia by Pliny the Elder,...

Sat, 09 Mar 2013 05:03:27 -0500

from the translated Naturalis Historia by Pliny the Elder, 77-79AD

View From A Creature’s Bunker, 2013 “View From A Creature’s Bunker” results...

Mon, 04 Mar 2013 14:33:58 -0500

View From A Creature’s Bunker, 2013

“View From A Creature’s Bunker” results from series of confrontations and encounters with nature’s otherness, but more specifically, our ability to conjure up and reclaim nature’s lost and displaced otherness through technology and conceptual means.

Skinning The Image

Mon, 04 Mar 2013 10:04:42 -0500

Offshooting from Skin and Image, what will “skinning” an image do to the power relations held together by the said image? Presuming that in this question “skinning” stands for an application of a skin instead of its standard opposite meaning: the peeling away of the skin. If it is the skin that will hold together the image into measurable boundaries, make it attainable, demystified, wouldn’t that curse the image?

“flame” 2013

Skin and Image (link to the blog)

Sat, 23 Feb 2013 00:12:17 -0500

Skin and Image (link to the blog)

January 2013 installation

Tue, 19 Feb 2013 08:08:02 -0500

January 2013 installation

Gash Wound Trauma (Encounters at Eagle Rock...

Sun, 06 Jan 2013 18:59:00 -0500

Gash Wound Trauma

(Encounters at Eagle Rock Reservation)

2013

color by numbers. click anywhere to read what it’s about....

Sun, 14 Oct 2012 14:08:34 -0400

color by numbers. click anywhere to read what it’s about. maybe even add, edit, etc

Stills from “Resisting to” (work in progress); 16...

Mon, 01 Oct 2012 01:51:36 -0400

Stills from “Resisting to” (work in progress); 16 minute talk/slideshow; 2012.

Will be shown at Intersection 2012

Damming. This is the highlight of my studio this...

Mon, 20 Aug 2012 11:18:00 -0400

Damming. This is the highlight of my studio this summer. It’s a verbal alternative - an analogically appropriate one- to the procedural term “masking” in drawing and painting. I drew out the word from a review by a writer who used it to describe a particular aspect in the work of a fellow painter colleague - an aspect I’ve also been starting to use in my own work.

As a method “damming” consists of taping, tracing, slicing, making templates so that a particular area of the drawing or painting is secured, bound, extracted and made specific. This sectioning off of areas privileges each area in a way that the hierarchies previously set between the different parts of the work are eradicated. As I “dam” this area and that area, the form of each area becomes thoroughly specific and attains a status of equal importance or equal unimportance.

As the form of each area attain clarity through the “dam,” each area then becomes their own reality: a reality that is distinct -but not completely removed- from the reality of the bound area adjacent to it, and other bound areas in the work. The resulting totality is a growth, a development, and a patchwork construction consisting of multiple constructed realities where each possesses their own particular set of internal dialogues, and whose clearly defined boundaries are the very spine that holds together the complex totality of the drawing or painting.

This is not insist that “damming” is the ideal method to achieve this holding or binding potential. It is merely one of many possible methods, all of which are equally potentiated to a particular goal. But in the case of what I’m doing, “damming” works: it clarifies categories; it interferes with expectations; it’s a reprieve from the power of subjectivity; it checks and limits persuasiveness and fluency; it questions habits; it is doubt circumnavigating to make me unsure.

“Ethics” 2011-2012 (still from performance) Talk/Performance...

Tue, 07 Aug 2012 10:36:00 -0400

“Ethics” 2011-2012 (still from performance)

Talk/Performance with animation

8 minutes

“Silence” 2012 (still from...

Tue, 07 Aug 2012 10:29:34 -0400

“Silence” 2012 (still from performance)

Talk/Performance with animation and audio

20 minutes

“Flash: Bleed” series (ongoing 2012) . As animation...

Thu, 14 Jun 2012 19:41:00 -0400

“Flash: Bleed” series (ongoing 2012)

As animation techniques become more and more a standard in the presentation of images in commercial internet sites -photography in particular- the more the boundaries that make each image distinct from another begin to be eradicated, blurred, appearing as one image bleeding into another. Questions that arise count from recontextualization, issues of intensified signification, leveling of differences, a flattening, loss of or gain in affect, to ethics -all or some of which are embodied in that moment of the blur -the bleed- that can last from a fraction of a second or longer. These are some of those moments screen grabbed from the opening Flash presentation of images by tinyvices.com.

Image captions: 1) the 1.2 second Flash bleed from Christian Patterson’s photo into Michael M. Koehler’s; 2) the 0.4 second Flash bleed from Sophie Van der Perre’s photo into Ryan McGinley’s; 3) the 0.5 second Flash bleed from Jade Doskow’s photo into Michael M. Koehler’s; 4) the 0.9 second Flash bleed from Balarama Heller’s photo into Yusuf Sevincli’s; 5) the 0.8 second Flash bleed from Lucas Blalock’s photo into Thobias Fäldt’s two photos; 6) the 0.8 second Flash bleed from Asger Carlsen’s photo into Lucas Blalock’s; 7) the 0.4 second Flash bleed from Neil Atherton’s photo into Jennifer Juniper Stratford’s; 8) the 0.9 second Flash bleed from Ali Bosworth’s photo into Diana Scherer’s; 9) the 0.8 second Flash bleed from Ryan McGinley photo into Brooke Smith’s