Encaustic Arts Magazine Winter 2012 | Page 28

For recent solo shows, I was attracted to charts and graphs (popularity polls, etc.), so these became the impetus for new work. When titling the pieces, I used the song playing on my ipod when I knew that piece was done. The show was called off the charts, referencing both the charts and music charts. Someone in the music industry purchased a piece at my exhibition so I felt there was a synchronicity and things came full circle. Portfolio Kathleen Waterloo Winter 28 Recently I moved into a larger studio within the same community of artists. Each time I open the front door it is a blessing: I’m thrilled to be in such a creative work environment. My own space is a calming haven, a shelter, a creative room. Even though the spaces have no doors and walls only go up 8’, people respect individual studio time and there is a sense of camaraderie and a professional work ethic— even a critique or a bottle of wine when you need it! Opportunity has knocked on my door and I’ve answered it. In art school I entered a Midwest student exhibition; Ed Paschke was a juror and selected my work. There were only 5 abstracts out of 60 pieces in the exhibit and I felt honored; it was a validation to keep doing art. From my BFA show, I got a call from a non-profit Chicago gallery that wanted to carry my work. That same summer I got into an exhibition juried by a prominent Chicago art curator. Also, two of my egg tempera paintings were chosen for an exhibition in Santa Fe and I won a cash prize. I started showing work at Chicago’s Woman Made Gallery, and from their slide registry, Melanee Cooper contacted me and started representing my work in Chicago until she closed her gallery. A gallerist in Minneapolis saw my work and I started showing there. My advice to emerging artists is to stay with it if you believe in it. Take little steps; these and little victories will get you somewhere. It takes persistence, patience and talent every day. Silent Running I, 2012, Encaustic on panel, 36” x 36”. Land II, 2011, Encaustic on panel. 24” x 24”. www.EAINM.com