Kaitlin Smrcina, "Shells on Woodgrain"
Graphite pencil on Bristol paper, 9" x 12", 2022.
SHIPPING IS NOT INCLUDED. PLEASE CONTACT INFO@COLLARWORKS.ORG FOR A SHIPPING ESTIMATE.
BIO
Born 1994 in Milwaukee, Wisconsin, Kaitlin Smrcina lives and works in Milwaukee, WI. She received her BFA in December 2015 from The School of the Art Institute of Chicago focusing in Ceramics, Sculpture, and Fiber Arts and Material Studies. Smrcina has worked as, an intern for Carol Jackson, 2014 Whitney Biennial artist, to help prepare for solo show “High Plains Drifter,” at Threewalls gallery in Chicago, a ceramics instructor in Champaign, IL, and a production assistant, and assistant stage manager for Redtwist Theatre in Chicago. Smrcina is currently the Display Coordinator for Anthropologie in Brookfield, WI, fabricating the large scale interior and window displays.
STATEMENT
Kaitlin works with non-functional forms that strive to simplify fine art sculptures in a satirical way, making art objects more visually accessible and appealing to any audience. She holds curiosities for religious iconography and obsession, using repetition as a ritual to parodize orthodox, often condescending, sculptural styles and imagery. Applying “bad but good” graphics, kitsch, and methodology similar to children’s books, she translates still life traditions to be mockingly self explanatory. Using recurring subjects of consumer goods and fetishized symbols, she puts an “idol-like” importance on capitalistic adornments.
Graphite pencil on Bristol paper, 9" x 12", 2022.
SHIPPING IS NOT INCLUDED. PLEASE CONTACT INFO@COLLARWORKS.ORG FOR A SHIPPING ESTIMATE.
BIO
Born 1994 in Milwaukee, Wisconsin, Kaitlin Smrcina lives and works in Milwaukee, WI. She received her BFA in December 2015 from The School of the Art Institute of Chicago focusing in Ceramics, Sculpture, and Fiber Arts and Material Studies. Smrcina has worked as, an intern for Carol Jackson, 2014 Whitney Biennial artist, to help prepare for solo show “High Plains Drifter,” at Threewalls gallery in Chicago, a ceramics instructor in Champaign, IL, and a production assistant, and assistant stage manager for Redtwist Theatre in Chicago. Smrcina is currently the Display Coordinator for Anthropologie in Brookfield, WI, fabricating the large scale interior and window displays.
STATEMENT
Kaitlin works with non-functional forms that strive to simplify fine art sculptures in a satirical way, making art objects more visually accessible and appealing to any audience. She holds curiosities for religious iconography and obsession, using repetition as a ritual to parodize orthodox, often condescending, sculptural styles and imagery. Applying “bad but good” graphics, kitsch, and methodology similar to children’s books, she translates still life traditions to be mockingly self explanatory. Using recurring subjects of consumer goods and fetishized symbols, she puts an “idol-like” importance on capitalistic adornments.
Graphite pencil on Bristol paper, 9" x 12", 2022.
SHIPPING IS NOT INCLUDED. PLEASE CONTACT INFO@COLLARWORKS.ORG FOR A SHIPPING ESTIMATE.
BIO
Born 1994 in Milwaukee, Wisconsin, Kaitlin Smrcina lives and works in Milwaukee, WI. She received her BFA in December 2015 from The School of the Art Institute of Chicago focusing in Ceramics, Sculpture, and Fiber Arts and Material Studies. Smrcina has worked as, an intern for Carol Jackson, 2014 Whitney Biennial artist, to help prepare for solo show “High Plains Drifter,” at Threewalls gallery in Chicago, a ceramics instructor in Champaign, IL, and a production assistant, and assistant stage manager for Redtwist Theatre in Chicago. Smrcina is currently the Display Coordinator for Anthropologie in Brookfield, WI, fabricating the large scale interior and window displays.
STATEMENT
Kaitlin works with non-functional forms that strive to simplify fine art sculptures in a satirical way, making art objects more visually accessible and appealing to any audience. She holds curiosities for religious iconography and obsession, using repetition as a ritual to parodize orthodox, often condescending, sculptural styles and imagery. Applying “bad but good” graphics, kitsch, and methodology similar to children’s books, she translates still life traditions to be mockingly self explanatory. Using recurring subjects of consumer goods and fetishized symbols, she puts an “idol-like” importance on capitalistic adornments.