- Kate Newby
A puzzling light and moving.
The lumber room welcomes you to the first public encounter of New Zealand and New York-based artist Kate Newby’s prolonged engagement.
This exhibition marks the stated beginning of what slowly began two years ago: through site visits, conversations, and explorations around the city. Newby’s engagement will evolve, perhaps, for another year’s time, or when Kate has had enough, or not— whichever comes first.
A maker whose sense of time ranges from the instant to the geologic, Newby’s making is both nimble and gradual. Some of it is seen. The material time that Kate sets into motion doesn’t always progress as expected, and may digress while you’re not looking. A keen observer and an engaged researcher, Newby’s objects and their environments summon deeper and extended inquiry. So many aspects of the lumber room’s spaces, textures, and natural elements have been touched by Kate’s poetry. Areas unnoticed are seen anew, or unveiled in plain sight like a sudden quake of feeling.
Just this morning, talking with Newby, we express our excitement for her return. We talk about the time in between, away from here, what will emerge during this time, what will drop away. Already ideas are in motion for imaginary works, writing, and events for when Newby is here and when she is elsewhere.
Many things are possible when an artist is given time, support, encouragement, and permission to carry forward and reflect. An invitation to return to their work as a site, reserved for their experimentation. A chance to alter the past, to begin another future, or perhaps to extend the present . . .
Kate Newby (Born 1979 in Auckland, New Zealand) lives and works in Brooklyn, New York. In 2012 she was awarded the renowned Walter’s Prize. Newby graduated with a Doctor of Fine Arts (2015) from the University of Auckland’s Elam School of Fine Arts.
Recent solo shows include Ican't nail the days down, Kunsthalle Wien, Vienna (2018) Swift little verbs pushing the big nouns around, Michael Lett, Auckland (2018); Let me be the wind that pulls your hair, Artpace, San Antonio (2017); The January February March, The Poor Farm, Wisconsin (2016); I memorized it I loved it so much, Laurel Gitlen, New York (2015): Two aspirins a vitamin C tablet and some baking soda, Laurel Doody, Los Angeles (2015); I feel like a truck on a wet highway, Lulu, Mexico City (2014); Maybe I won‘t go to sleep at all., La Loge, Brussels (2013); and Let the other thing in, Fogo Island Gallery, Newfoundland (2013); among others. Her works have also been shown in international group exhibitions, including Further Thoughts on Earthy Materials, Kunsthaus Hamburg, DE, (2018); 21st Biennale of Sydney (2018); Scrap Metal, Toronto (2017); Index – The Swedish Contemporary Art Foundation, Stockholm (2017); Sculpture Center, New York (2017); Casa del Lago, Mexico City (2015); Auckland Art Gallery Toi o Tamaki, Auckland (2015); and Arnolfini, Bristol (2014).
Kate undertook residencies at The Chinati Foundation, TX (2017), Artpace, TX (2017) and Fogo Island (2013).
The lumber room extends its heartfelt thanks to Kate’s many local collaborators who generously offered their knowledge, skill, time and enthusiasm for Kate and her work. To Chanda Zea, Dylan Beck, Ezra Lomahaftew, Trent Laughery and Evan Kirby at Oregon College of Arts and Crafts, gracious and generous beyond compare. Matilda Adair, a steady and nimble presence every day. Chris Baird and Rainen Knecht who take their skills to eleven every time with humor and grace. Avery Bloch for his astute assistance. Ted Sawyer and Tom Jacobs made glass happen on short notice for Kate and did so with the highest level of professionalism and engagement. Mark Burden for a lesson is wood. Sara Moen for a lesson in fiber. Jim at Gilmer Woods, the staff at CC and F Roofing, all of whom followed Kate’s lead and found the materials she had imagined. Gabi Vallesinor and Sarah Coderre on a Sunday packing, lifting and moving. Stephanie Snyder for her wisdom and editing prowess. Always thankful for Rob Halverson, Randy Higgins, Libby Werbel and Jeanine Jablonski who help me and the artist make it all happen, often on a short timeline.