Artist Interview: Kit Porter
Such a pleasure to chat with Kit about her work! In today’s interview we chat about the importance of support system, turning “no” into “not at this time”, and more!
Kit’s artist statement:
I am intrigued with the way an object left by the sea, exposed to the elements, wears down as a result of time and environment. For me, it is the perfect metaphor for the fragility of the physical world.
Years of painting fragments of marine debris has led me to develop a painting technique to emulate this process of breakdown and weathering, which I refer to as diminution. By painting around and into shapes, I am able to create fragments that appear carved, softened and shaped from the outside, to characterize the concept that time and environment alter the size and quality of everything.
Whether I am painting literal fragments of plastic I have gathered, or dissecting still life into abstraction, I present fragments as a metaphor for the fragility of the physical world.
Let’s dive in!
The way you approach story telling through your art, fractured memories, marine debris, as if your pieces offer a sneak peek into the window of time, literally and figuratively. How did you arrive at this part of your creative journey? Any recollection of how the desire to express these moments started?
I have lived by the coast most of my life, and it is a constant source of inspiration. My childhood is filled with memories of collecting treasures on the beach with my mother - a meditative experience that I now share with my own children. However, in recent years my experience collecting on the beach has shifted from gathering natural wonders in awe, to gathering fragments of debris that are a threat to marine life. I find my inner dialogue particularly loud with curiosity as I collect unrecognizable fragments of plastic - objects that were once whole, exposed to the elements, worn down by time + environment. The textures + shapes alone are incredible - some areas have been rubbed smooth, while others have been more aggressively chipped and broken. I have found so much conceptual weight in these fragments that I began painting them a few years ago.
Painting fragments of marine debris has allowed me to develop and refine my painting technique, which mimics the process of an environmental breakdown, similar to erosion. I refer to this technique as “diminution” - whereby I am able to reduce the size and quality of a shape by painting around and into it. The result of this technique is a collection of fragments that appear to have been chipped, carved, or softened from the outside. In my work the paint around each shape is representative of time + environment, giving each object the illusion of being minimized from it’s original state.
While I still continue to paint literal pieces of marine debris, I have recently been using this technique on other subjects such as still life. In both bodies of work, I present the viewer with an object broken down into fragments, as a metaphor for that which has been changed over time, that which has been affected by external environment, and for that which although broken, can still be viewed as beautiful and complete just as it remains.
Were you always a creative person or is it something that developed over time?
Definitely both! I believe all children are born with creativity, so yes, it is something I have always had inside of me. However, I also believe that when creativity is acknowledged, encouraged and nurtured, it will continued to develop. I am fortunate to have had many people support my creativity throughout my life. Beginning with encouragement from my mother, followed by art teachers from elementary school all the way through university, and now with the support of galleries who are willing to share my work with their extended network, I feel so fortunate that my creativity has been nurtured and encouraged to grow.
How supportive were your loved ones, and did it have an impact on your creative development?
I certainly would not be a full-time artist today without the support of my loved ones. My mother has always been hugely supportive of my art from the beginning. I specifically remember her encouraging me to set up an arts and crafts table on the side of the road in lieu of a lemonade stand, and a few years ago she was my date to my first gallery show! As I mentioned before, my teachers were also instrumental in recognizing and nurturing my creative intuition. Today, my husband is the one who supports my art more than anyone. When I have late nights in the studio he never asks me to stop working early, and it makes me laugh just to think about his reaction when I tell him a gallery sold something that day. He practically jumps through the roof. Every. Single. Time. I am very lucky to have loved ones who not only encourage, but truly celebrate my work with me.
What has been the most challenging aspect of your artistic career so far?
TIME. Doing what I love is such an incredible gift that I am grateful for everyday. However, it means I want to be in the studio creating ALL OF THE TIME and that just isn’t possible when running a business. Everyone knows there are a lot of moving parts that must be attended to in order to keep the business going. Although I have put many processes in place to manage my time working on the business in and out of the studio, I still would rather be creating all of the time.
We are strong believers that the more people discuss failure, the less significant the possibility of it becomes. In our society, we are so terrified of possibility of something not working out, that it halts all our efforts to begin with. We ask all of our interviewees if they can share a time where something (a project or opportunity) did not work out and how did you move forward?
I used to work in a gallery where we would receive submissions from artists daily. I reviewed hundreds of portfolios and websites and in turn had to write many notes back to artists saying “not at this time”. This key phrase has been something that I always keep in mind when I am personally submitting my work to galleries, juried exhibitions, collectors, etc. A “no” is not a “not ever” in my book. A “no” is just a “not at this time” - which ultimately means “given the right circumstances, maybe one day." I receive rejection letters all of the time, but I have learned not to take them personally, but to understand that it is about the project, the timing, the fit at that moment, but most importantly it can be an opportunity to begin a conversation. Some of my greatest relationships within this industry have started off as a “no” which turned into a conversation, then into a relationship, and when the time was right, into an opportunity.
Any events, projects, or exhibits you'd like to share with the audience?
I have recently put together a proposal for a large scale marine debris exhibition. I am not sure when or where this project will make it’s debut, but I am really excited about bringing it to life. If there is anyone out there with contacts that might be interested in showcasing an exhibition with a focus on environmental art, please reach out!
Learn more about Kit via her IG: kitporterstudios
Website: kitporterstudios.com
