PORTLAND, Maine — Since 2003, when Kate Hargrave acquired her BFA from the Rhode Island Faculty of Design, she’s been toiling away at growing her inventive visions whereas refusing to exhibit her work, like a tinkerer conjuring up innovations in secret. Now, for the primary time in over 20 years, she’s allowed her hefty oils painted on 3/4-inch birch panels to stray from the security of her Maine studio to Moss Galleries for the general public to gawk and coo, they usually’re a pleasure to come across.
What is clear from this peek inside her world is Hargrave’s deep love of artwork historical past. Historic artists (e.g., Pieter Bruegel the Elder, Lucas Cranach, Titian, Bosch) freely collide with trendy ones (e.g., Remedios Varo, Magritte, Balthus, Leonora Carrington), leading to work that ignite modern visions rooted in kinds of reminiscence, if not historical past. Many of the works are nocturnal scenes, notably moody moonlit views in forests or interiors that trace at a lunar glow by way of doorways.
Set up view of Kate Hargrave’s The Journal at Moss Galleries in Portland, Maine
Hargrave relishes texture as a lot as line. In “The Supper Guests” (2020), a clowder of kitties seem enchanted as they lounge atop a desk bathed in moonlight. Whereas the figures seated round them ignore the felines, our consideration is drawn to them like a cosmic start. Slightly askew, a ghost-like male floats, and the interiority of every determine makes you marvel if the picture is a composite of a sequence of occasions.
Typically, views are tilted upward. They’re theatrical in nature, and ceilings, like skies, are hardly ever in sight. Our perspective is that of an all-powerful presence, or maybe a baby arranging individuals and furnishings in a dollhouse under.
Kate Hargrave, “The Milkmaid” (2024)
Hargrave makes use of a extra rhythmic, flame-like brushstroke in “The Milkmaid” (2024) that units all the things ablaze. As in her different work, figures are both in motion or on the verge of it, which provides the imagery an unsettled high quality. Figures, like tales, migrate into new worlds that seem as delicate as they’re intricate.
Throughout her 20 years away from the general public eye, Hargrave turned a mom, and moments of parental heat emerge in work like “The Babysitter” (2018). The affect of youngsters’s guide illustrators can be evident, and in these 20 years she’s constructed up a way that childhood growth, like a creative follow, has its personal tempo. It could have taken some time to rear these artworks, however they’re greater than prepared for the large, dangerous world exterior.
Element of Kate Hargrave, “The Supper Guests” (2020)
Kate Hargrave: The Journal continues at Moss Galleries (100 Fore Road, Suite B, Portland, Maine) by way of March 8. The exhibition was organized by the gallery.
