Artist Karrie Ross is a survivor.
Essay: Dave Barton, 2017
In person, you can see it in her eyes: the bright, weary glare of a woman who has been playing the boy’s club art game for more years than it’s polite to ask. I could see it in my recent studio visit with her. You can see it in the numerous works featured on her website.
The ONE: the five elements. Wood, Fire, Earth, Metal, Water
Five figures—wood templates for a planned series of metal sculptures—stand in front of the window, sun bursting through the gaping holes in the middle of each, as if they’ve just faced a firing squad. Wire and bead designs hang inside the holes; Tao symbols, wheels, eggs, and flowers all standing in for viscera. In place of faces, more beaded glass gives us eyes, noses, the suggestion of a wan smile; fright wig hair springing from the heads painted to represent Wu Xing (Elements). Given a little refinement and the more solid structure that metal will bring, one can easily imagine them whirling on spinners as kinetic pieces.
The ONE: 4″x4″ canvas’ collage images with The ONE removed out on a stick to be inserted by hand in perspective and participation
Other idiosyncratic figures, still alone, but grouped together in The ONE: Boxed, looking like solid bricks in a wall. The more than a dozen small boxes, exquisite corpses covered with vibrant card art created by another artist and repurposed by Ross, feature a lone figure attached at the top or side. Solitary, defiant, the planted figure often defying gravity, and never too far away from its origin: Cut from the front of the card art, it has left a bright and beautiful Hiroshima shadow underneath.
“Nature: The ONE with Water”; 30″x22″ mixed media on paper
That lonely figure standing amid a chaotic background is a continuing theme in her latest works on paper. In Nature: The ONE with Water, the armless figure stands in water, towering high above the tiny wave breaks below. Her tapering neck—bright, lightbulb head glowing gold—sways and Continue reading
