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Kate Dodd Artist Bio & Statement
Kate Dodd received her B.F.A. from Pratt Institute in 1983, and her M.F.A. from Columbia University in 1990, and currently lives and teaches in New Jersey. She has exhibited her artwork nationally in museums, galleries, and colleges, and has been teaching art in public and private schools for 25 years. Kate has been awarded residencies at MacDowell, Rutgers Center for Innovative Print and Papermaking, the Connemara Conservancy, Cummington Community for the Arts, the Vermont Studio School and numerous schools in the tri-state area. In addition to site-specific installations, Kate has been commissioned by NJ Transit in to create permanent large scale works in Bayonne, Newark, South Amboy, and Hoboken. Kate's installations provide a heightened sensory experience for the viewer\occupant, while reexamining institutional and conventional notions of architecture and its relationship to the environment.
Each piece in this series, “Systems Explorations”, begins with drawing a traditional Islamic pattern. This approach grew out of several previous series based on Zellige tiles from Morocco, which I immersed myself in on a trip in 2014 after having admired them from afar for many years. I find the order and peace inherent in these patterns a relief from the disarming chaos in the world. Yet I am attracted to disrupting these patterns in order to reveal something previously hidden, which feels akin to acknowledging the effect of unpredictable change on tradition. When I discover a way forward, within a process that dismantles order, my focus shifts from destruction to creation. The more I press forward, navigating back and forth between repetition, progression, and randomness, the more possibilities I find for invention and surprise. I never tire of the symbiotic relationship between geometric and organic structures.
Each piece in this series, “Systems Explorations”, begins with drawing a traditional Islamic pattern. This approach grew out of several previous series based on Zellige tiles from Morocco, which I immersed myself in on a trip in 2014 after having admired them from afar for many years. I find the order and peace inherent in these patterns a relief from the disarming chaos in the world. Yet I am attracted to disrupting these patterns in order to reveal something previously hidden, which feels akin to acknowledging the effect of unpredictable change on tradition. When I discover a way forward, within a process that dismantles order, my focus shifts from destruction to creation. The more I press forward, navigating back and forth between repetition, progression, and randomness, the more possibilities I find for invention and surprise. I never tire of the symbiotic relationship between geometric and organic structures.
