Kathy Butterly's practice engages with concepts ranging from materiality and line to the history of the vessel. She uses traditional ceramic forms as her starting point, referring to these historical templates as her 'canvas'; however, Butterly contorts and misshapes these forms in ways that veer toward the iconoclastic. She then adds layer upon layer of glaze – sometimes to the point of creating additional volume – and fires the works repeatedly. The colours and textures Butterly chooses and their relationship with each other are simultaneously seductive and jarring. Her strange forms and surprising palette decisions often generate an uncanny awareness in the viewer and produce a visceral impact.
Read MoreEach of Butterly's sculptures is unique and detailed. She eschews large-scale work, preferring instead to make concise, pithy compositions that express a wide variation of moods. Whether rising, collapsing, stalwart, or teetering, these sculptures exude a defiant and passionate individuality. Butterly exaggerates the echoes of figuration inherent in the vessel form, allowing the viewer to relate to her works on an intimate yet human level. The distinct, faceted personalities of these sculptures provide the works with their own raison d'être.
Kathy Butterly (b. 1963, Amityville, NY) has exhibited widely in the United States and internationally. The artist was most recently the subject of a solo exhibition, Kathy Butterly: Out of one, many / Headscapes, at the Contemporary Art Museum St. Louis. The show traveled to the Portland Museum of Art in Portland, Maine and will be up through March 5, 2023. In 2019, Butterly was the subject of a solo exhibition at the Jan Shrem and Maria Manetti Shrem Museum of Art at UC Davis. Recently, Butterly's work was featured in group exhibitions at the Metropolitan Museum of Art in New York City, the Crystal Bridges Museum of American Art in Bentonville, Arkansas, and the Anderson Collection at Stanford University.
Text courtesy James Cohan
