Exhibition of new paintings by Kathryn Kerr that explores the evocation of a journey across a remembered landscape.

Result #1

The most recent works in the exhibition include three landscapes, The River, The Sea, and The Mountain, all 1992, and are thus a continuation of her exploration of the figure, which continues to be a primary focus. The river, for example, is a narrative in itself, showing the river crossing an invisible barrier to reveal the river as a potential site of meaning. The landscape is a loose, open field of color and shape that expands outward to reveal the landscape as a whole. The viewer is invited to explore the complex, layered, layered, and shifting layers of color that make up the landscape, and is encouraged to visualize the river as a symbol of a place and of movement. The landscape is an ambiguous, moving, and untidy place, an ambiguous, nonverbal place that invites a variety of readings, and one that is both poetic and unsettling.The Mountain is a depiction of a mountain peak that is almost tangible, but one that is only partially visible. The top of the mountain is a dark, blue, and black mass of rocks, and the wayward peaks left by its fall are suggested by the white brushstrokes that cover its surface. The rock surface is dotted with rocks that form a horizontal line, a line that is the outline of a mountain, and that is the point of departure for the viewers journey. The Mountain is a symbol of the search for the sacred, and it is a place that has been regarded as sacred since antiquity. In this way, it is an emblem of a longing for the sacred, an emblem of a desire for the sacred. The Mountain is a place of mystery, a place of the unknown, and it is a place of a place where the search begins.

Result #2

Exhibition of new paintings by Kathryn Kerr that explores the evocation of a journey across a remembered landscape. The exhibition included three paintings and two drawings, all from 1992. The paintings are not new, but they are not as bleak as the previous ones, and they are not as bleak as the drawings. Kerr paints landscapes, and they are very beautiful. Her paintings are not like the drawings, and she does not make them in the manner of some of her European peers, but they are not abstract landscapes either. Kerr has never been a political painter, but her landscapes, and landscapes as such, are very personal and full of associations, evocations of the emotional world. The paintings are not political, but the emotional world is political. They are not landscapes, but they are landscapes.The paintings are made in a style that is very much like the style of a Rembrandt. The paintings are not as dark as Rembrandts, but they are not as dark as Rembrandt either, but they are not as dark as Rembrandt either. There are no strokes, and the colors are not as dark as Rembrandt, but there is no mistaking the colors. The colors are not as dark as Rembrandt, but they are not as dark as Rembrandt either. They are not as dark as Rembrandt, but they are not as dark as Rembrandt either. They are not as dark as Rembrandt, but they are not as dark as Rembrandt either. In each painting, there are several layers of paint on top of which are several layers of brushstrokes. In the paintings, the brushstrokes are not so much a trace as an image that is repeated over and over, and they are the image that the paint has been transformed into. The paintings are not so much landscapes, but landscapes as images. The brushstrokes are not so much a trace, but are an image that is repeated over and over.

Result #3

Exhibition of new paintings by Kathryn Kerr that explores the evocation of a journey across a remembered landscape. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Result #4

Exhibition of new paintings by Kathryn Kerr that explores the evocation of a journey across a remembered landscape. . . . These paintings are made up of many small, overlapping, irregularly shaped, painted surfaces, painted in a range of grays, with a subtle matt finish. The paintings seem to be made by the same hand that did the initial drawing. They are mostly small, with a few sections being over a foot square and others being less than three feet wide. The paintings are made of irregularly bent, cut-out, or folded paper. The paper is bent in different ways, as if the artist had used different materials, such as paper and paper pulp, in order to produce different textures and densities. The paintings are made up of many small, overlapping, irregularly shaped, painted surfaces, painted in a range of grays, with a subtle matt finish. The paintings seem to be made by the same hand that did the initial drawing. They are mostly small, with a few sections being over a foot square and others being less than three feet wide. The paintings are made of irregularly bent, cut-out, or folded paper. The paper is bent in different ways, as if the artist had used different materials, such as paper and paper pulp, in order to produce different textures and densities. The paintings are made up of many small, overlapping, irregularly shaped, painted surfaces, painted in a range of grays, with a subtle matt finish. The paintings are made up of many small, overlapping, irregularly shaped, painted surfaces, painted in a range of grays, with a subtle matt finish. The paintings are made up of many small, overlapping, irregularly shaped, painted surfaces, painted in a range of grays, with a subtle matt finish. The paintings are made up of many small, overlapping, irregularly shaped, painted surfaces, painted in a range of grays, with a subtle matt finish.

Result #5

Exhibition of new paintings by Kathryn Kerr that explores the evocation of a journey across a remembered landscape. The young American artist has been a resident of Los Angeles since 1989, and this show traces her journey across the Pacific, from California to Hawaii, her first stop on the West Coast. She has been exploring the subject of the land and the sea for over ten years, and has created a body of work that is profoundly poetic, at times even reverential, at times even disturbing. The show was divided into three groups: twenty-six works, mostly from 1999, and a few drawings and watercolors. Kerr has been using a series of black-and-white photographs that capture the waters edge and a single, large figure that rises from the water. These figures are often in the shape of a ship, and the close-up view of their backs and the shadows of their silhouettes of limbs and broken bodies is often disturbing. Kerr has used the same black-and-white photographs in several of her drawings, which, while abstract, are, in their formal qualities, close to the originals. The drawings are also large and bold, and are filled with a variety of details that evoke a range of moods and surfaces, from the brittle, the luminous, to the delicate, the delicate. The drawings are, of course, also prints, and the images are carefully arranged in groups of four, arranged in a grid, with the smallest group of images superimposed over the others. The paintings—each composed of two or three panels with a single image—are richly textured, with a rich surface and a vivid, luminous quality that creates a sense of depth.The artist has developed a distinctive approach to the figure and the landscape, and it is in this sense that her work differs from that of most contemporary artists. Her images of the ocean and of the shore, for example, are arresting and memorable, and their use of the figure creates a tension between the familiar and the strange.