Curiosity Without Bounds

n the winter of 2016, artist Katie Swatland covered all her clocks to eliminate the illusion of time, hung a “do not disturb” sign upon her studio door, and stepped into a journey of self-imposed artistic isolation for 29 months.

She re-emerged on June 11 finally feeling the need to share the fruits of her labor – the “Alchemy Visions” collection – nearly complete with the exception of three final works.

She is an intriguing individual, as is evidenced not only by her art, but the way in which she sees, reflects and interacts with the world. While many artists proclaim their work to be multi-disciplinary – as it is quite trendy these days to do so – Swatland is the real deal. Because of an intense curiosity about the world and its’ cultures, her art is informed with layers of meaning – expressions

based on ancient philosophies, the natural sciences, history, folklore, and mythology.

Having trained for sixteen years in the art of oil painting, Swatland also received a degree in mechanical engineering and has a passion for theoretical physics. It is this background in scientific learning, I believe, which allows her to intellectually explore and ask methodical questions of nature and the unknown.

The start of Alchemy Visions began, as most journeys do, with a first step. Years before shutting her doors in January, 2016, Swatland created the Prelude collection. These paintings built the foundation and path for what was to come. In this first collection, Swatland painted almost exclusively from life, relying on her artist’s eye for direct observation of nature. The majority of these works, Swatland informs me, have been sold to private collectors around the world. One piece, Material and Tools, oil on panel, found its permanent home at the Mark Arts Foundation in Wichita, Kansas.

“I painted Materials and Tools specifically for my first instructional book on painting titled, Alla Prima II: COMPANION, placing it opposite the preface, on page XV. This piece, along with the entirety of the Prelude collection is also featured in the book.”

Swatland’s Alla Prima II: Companion, details the processes of painting and provides instruction on such matters as how to create a quality working surface, understanding the nature of light, brushwork exercises, and many other secrets as to what goes into creating a masterful work of art. Released in 2014, the book sold out after three months and is currently in its second printing.

It was while working on Prelude that Swatland also learned valuable lessons on the patience required while painting and working with nature along with a great deal about light. These experiences have informed her work on Alchemy Visions, allowing Swatland to expand beyond what merely exists and express the visions which, until now, only resided in her imagination.

A great deal of myth and lore is also woven into the work – Nordic legends and Tolkien, including the languages he created for his characters. Swatland is also inspired by the taoist philosophy, samurai principles, alchemical traditions, and the languages of physics and geometry, the later two presenting ways in which to illustrate patterns. Swatland is, however, hesitant to commit characterization

of her work to one philosophy, mythology, or tradition because she does not want to create boundaries, separations, or limitations.

“If I had to say something, I would be most comfortable saying that I am exploring nature’s ways. I believe ultimately everything is related . . . that ultimately everything is connected by an interweaving thread found running through all philosophies . . . regardless of time and culture.”

The properties of light play a leading role in Swatland’s work. But not just as a source of lighting in which to color subject matter – for example, the ways in which an artist may employ chiaroscuro to provide contrast between elements – Swatland uses reflective materials within her work such as mica, glass, shells, gold and silver leaf that are layered on the painting’s surface. This has the effect of transforming the work on canvas into a visual experience, imbuing it with a life and energy of its own.

She has mentioned to me her feelings on the life of her paintings, explaining her wishes for her future work and the hopes she has for the paintings themselves. Yet, she does not make pronouncements of what she hopes the work will do or what type of emotional core response is required by the viewer. I find this all very refreshing from the typical artist statement.

“I prefer also to allow the viewer the freedom to explore the imagery of my paintings without the confines of precise specifics, because I find this can sometimes be limiting . . . not just for the viewer, but for the paintings, the characters which emerge from them, and for me as well. The imagery also reveals itself to me in this way . . . open . . . part of everything . . . part of nothing . . . transcendent of boundary,” she explains.

The cornerstone of Alchemy Visions will consist of four large paintings: two vertical 4’ x 8’ figurative works and two horizontal 6’ x 4’ ocean landscape paintings. She refers to these as The Four Pillars. Three of these paintings still remain in progress. The vision Swatland has for these canvas’ explores ideas dealing with balance and harmony that may result from opposing energies.

“I mean it more in terms of an exploration of the general principal of opposition through observations of nature’s cycles, which are found across all ancient philosophies. For example, two of the four paintings are expressions of energy in the form of light bathing an ocean landscape. One landscape expresses the characteristics of the setting sun . . . or rather, the last light, and explores the characteristics that create this type of energetic expression. Conversely, the opposing painting, that is yet to be painted and will sit across from this landscape of the setting sun, will be a landscape of the rising sun . . . of the first light. Together these paintings will be an expression of energies in opposition, and the cycle of night turning into day, of day turning into night . . . one is part of the other. Together they will be an expression of the cycle as a whole,” says Swatland.

“The other two paintings will also work together to express energies of opposition, and they will come in the form of a study of light and dark in collaboration of human form. Light vs. the absence of light, ethereal vs. earthly. The reality that light may not exist without shadow . . . shadow may not exist without light, and so on.”

In addition to The Four Pillars, the Alchemy Visions collection also embodies a number of paintings and studies (some of which are lovingly and meticulously painted on birch bark found during Swatland’s forest walks), costumes, found objects, branches turned into mysterious looking sculptures, portraits, and wooden logs adorned with bird skulls evoking something you might imagine belonging in the abode of a mystic seer. This “cast of supporting characters,” as Swatland refers to them, inspire and explore further myth and lore through allegorical means. She does not always know the full story of a character before painting them and explains that they often come to her in “archetypal quests” which she allows to unfold through creative means.

“I am certain that as the paintings start their own outward journey, that other people will bring their own personal experiences and knowledge and come to conclusions about the how and why of the images, and in many ways, those will be just as accurate and just as valid as what I may think of as my own reasons . . . and I wish to remain open to all of that . . . because that is where growth happens,” explains Swatland.

After 29 months in isolation, and once the three remaining canvas are complete, what does Swatland envision for her future and the future of her work?

“I have some rather ambitious ideas for a traveling exhibition which offers a wide variety of interactive and immersive events that would take place in and around the artwork. These ideas are intended for when the collection is complete; however, I wish to offer more intimate versions of these grand ideas with portions of the collection as I work to complete the remaining three.”

These plans consist of ideas which are not generally considered when thinking about art installations or exhibitions. For instance, a series of concerts which may be comprised of small music gatherings – or in stark opposition – complete, large-scale stage performances which could include choreography, costume, and special lighting effects. Swatland also has ideas for themed brunches, dinners, cocktail parties, and wellness groups. In closing, Swatland extends an invitation to the readers of Venü. “I would like to invite the readers of Venü to take a moment each day and pause to do something that nurtures their imagination. I personally love to do this by beginning each day with a curiosity . . . whether that be by reading a poem, or looking at a painting, learning a new vocabulary word, or reading a short passage about the stars and planets, or the inner workings of tree roots. It doesn’t have to

be anything grand, just something small that sparks curiosity and uncovers the inner workings of the treasures that are always present in this life. It can be anything that simply brings wonder to the natural beauty of existence. These delights are everywhere, we simply need to slow down for a moment long enough to notice them.

“I would then ask them to observe how this small act, (which I like to refer to as, ‘nurturing Imagination by presenting her with offerings’) trickles down throughout their day-to-day life, and adds just a little more brightness to their being, as well as to those around them. Perhaps even share a little morsel of your morning’s curiosity over lunch with a friend or colleague, and watch how that light will expand.” ¨

You can join Katie Swatland as she works on the remaining three pieces via her Instragram account and her YouTube channel. The light is fabulous. 1 square [ ] @ a time: www.instagram.com/katieswatland 1 dynamic rectangle [ ~ ] @ a time: www.youtube.com/c/katieswatland www.katieswatland.com

By Lisa Mikulski