Luminous - Kristin Jai Klosterman
January 15th - February 7th, 2014
The Luminous painting series is inspired by some of the themes artist Kristin Jai Klosterman has been exploring since 2005. At the time, Kristin was working on a series of pumpjacks and windmills: interested in capturing the man-made machines that utilize the Earth’s energy. From windmills to galaxies, the artist, over the past few years, has evolved and taken Nature’s power to a different level.
Having grown up in Florida, Kristin Jai Klosterman has always been familiar with windstorms and hurricanes. What was for most people a natural catastrophe, became for her a humble reminder of Nature’s grandness. She saw beauty in what most feared, and saw creation in what is often considered destructive. From studying and painting these extreme natural occurrences, she discovered that they share a similarity in form: a circular shape that builds from the inside out – one that is often examined in the Fibonacci sequence or the Golden Ratio. This never-ending cyclical pattern can be found in our typhoons, hurricanes, tornadoes... But can also be found in our galaxies, our seashells, our flowers…almost everything around us.Kristin Jai Klosterman’s work does not always reveal what the subject is (a galaxy/ hurricane…), but rather offers a universal revelation and an invitation to dive into its limitless meanings.
Drop In Pressure (2009) ink, gesso on silk and wood, 19"x22"
This piece – one of the first done on silk from this series – is based off a West African Coast cyclone. Unlike other storm works, this is a side view of the natural phenomenon, offering a tunnel view and whirlwind effect.
The title refers to the scientific nature of cyclones: an imbalance in pressure.
NGC 4603 (2014) ink, gesso on silk and wood, 19"x22"
This piece was a turning point, the artist explains: the moment when she started grasping the repetitive pattern of the cyclic and circular shape, present everywhere in nature. Klosterman was interested in interchanging the subjects (tornadoes/plants/galaxies…), while maintaining the integrity of the core shape.
NGC had the perfect form to explore this duality: a clear spiral which offers a similar angle view as hurricanes. Klosterman adds: “NGC also offered a lot of negative space: it is like a floating mass of light (and darkness).”
Creation (2009) ink, gesso on silkscree, 24"x20"
One of the first galaxies - the milkyway - Klosterman painted. This was also the first time the artist used a "staining" painting method (to obtain the blue tone).
Split (2011) ink, acrylic, gesso & phosphorescent pigment on silkscreen, 30" x 40"
This painting was originally shown in Los Angeles in 2011, in an exhibition about car culture. The artist, who was in the mist of her exploration of ‘Nature versus Man energy’, based this work on an old photograph she found of cars racing in the Salton Sea with clouds swirling behind. She decided to focus her painting on the clouds (rather than the vehicle) – which offered the ever-present circular motion – and made the car a small and insignificant detail.
A variation of the silk screen painting method, ‘Split’ is made with an additional layer (pigment and glow in the dark), creating additional depth and a floating effect.
M81 (2014) ink, gesso & phosphorescent pigment on canvas, 12”x24”
A new piece created for ‘Luminous’, Klosterman recently discovered this galaxy. It offers a similar perspective as NGC, yet has its particular design.
Arctic Swoon (2014) ink, gesso & phosphorescent pigment ink on canvas, 16”x20”
The shape of 'Arctic Swoon' is based on a polar cyclone (the artists’ new favorte storm exploration). Klosterman explains that these particular storms are very large, extreme and move slowly, lasting for days. The colors used (pale turquoise tones) reinforce the arctic feel.
Floating Whirld (2014) ink, phosphorescent pigment on silk, 88"x66"
This work is based on the whirlpool – that lasted 5 hours – which occurred during the 2011 Japan tsunami. When the catastrophe took place, Klosterman received a number of messages from various people who recognized - in that particular storm - the pattern she had been painting for years. A sort of consciousness awakening.
With this new whirlpool created for the ‘Luminous’ exhibit, the artist wanted to re-explore the powerful effect of that form. She pushed the concept further by using – for the first time – a free-flowing material (silk) as her surface. The transparency, enhanced reflection, and natural movement of the fabric enhances the artist’s pattern of energy/movement constancy.