ART Habens Art Review // Special Issue ART Habens Art Review - Special Issue #89 - Page 187

Caren Kinne ART Habens to the canvas from squeeze bottles. Once the paints globs are within the confines of my loosely planned shapes and set apart from the background, I then work the squeeze bottle applied paint around the canvas in a an instinctive, gestural way. The bulk of the process in the Musing series is quite meditative. that there is a touch of a utopian ideal at the heart of much of my work. Certainly, all of my works are connected in that there is an overall sense of whimsy. I think there are certainly artists whose work requires absolute commentary or singularity regarding the meaning of a work. There are times (and types of art) in which a very specific message is intended to be expressed using visual imagery. However, I do not work in that manner. In my work the ability for open interpretation is quite important. I love the play between an artwork and the viewer. Each individual viewer brings with them their own life experiences that inherently influence their interpretation of, and reaction to a work. I love the fact that a singular artwork can bring about many connotations and create a variety of connections with a number of viewers. In the Musing Series memory plays a role but more of a subconscious one, compared to my other bodies of work. This series, being more of a meditative painting process, the role of memory emerges through the emotional and contemplative aspects of the process of creation. As mentioned before, the pleasurable side of memory and nostalgia are often involved. Through line, shape and color I believe that this air of happiness presents itself in my work. In Memory Gardens, for instance, it is as if each enclosed bubble, bit of color and line are a memory themselves, just as we over time gather so many memories in our own lives. To this effect, the viewer may then consider their own memories and bring a personal connection to the piece. I would venture to say it is more central ideas that are typically at play. Nostalgia often plays a prominent role, moreover the joyful sentiments and feelings associated with memory and nostalgia. I would also say I have always loved color and my palette reflects a wide array of color saturation, 21 406 Special Issue Caren Kinne to the canvas from squeeze bottles. Once the paints globs are within the confines of my loosely planned shapes and set apart from the background, I then work the squeeze bottle applied paint around the canvas in a an instinctive, gestural way. The bulk of the process in the Musing series is quite meditative. ART Habens that there is a touch of a utopian ideal at the heart of much of my work. Certainly, all of my works are connected in that there is an overall sense of whimsy. In the Musing Series memory plays a role but more of a subconscious one, compared to my other bodies of work. This series, being more of a meditative painting process, the role of memory emerges through the emotional and contemplative aspects of the process of creation. As mentioned before, the pleasurable side of memory and nostalgia are often involved. Through line, shape and color I believe that this air of happiness presents itself in my work. In Memory Gardens, for instance, it is as if each enclosed bubble, bit of color and line are a memory themselves, just as we over time gather so many memories in our own lives. To this effect, the viewer may then consider their own memories and bring a personal connection to the piece. I think there are certainly artists whose work requires absolute commentary or singularity regarding the meaning of a work. There are times (and types of art) in whic H\BXYXY\YH\[[YH^\Y\[\X[[XY\K]\Hܚš[]X[\[^HܚHX[]H܂[[\]][ۈ\]Z]H[\ܝ[ HݙBH^H]Y[[\ܚ[HY]\XX[]YX[Y]\[][HZ\ۈYH^\Y[\][\[B[Y[HZ\[\]][ۈً[XX[ۂHܚˈHݙHHX]H[[\\ܚ[[X]X[Hۛ][ۜ˜[ܙX]HH\Y]HوۛX[ۜ]B[X\وY]\˂H[[\H^H]\[ܙH[[YX\]\H\X[H]^K[XBٝ[^\HZ[[K[ܙ[ݙ\BY[[[Y[[Y[[\X]Y]Y[[ܞH[[XKH[[^BH]H[^\ݙY܈[^H[]BYXHYH\^Hو܈]\][ۋB XX[\Y