Kate Citrin is a painter in Evanston, IL working mainly in oils. She holds her BFA from Grand Valley State University and has additional training from Vitruvian Fine Arts Academy and Jen Gennari with Drawing America. She has been painting since 2002 and has shown at numerous galleries in Chicago and New York including an exhibit curated by the Guerrilla Girls. Kate also paints commissioned portraits (both pet and people). Her artwork has been featured in commercial arts including advertisements, album design, and packaging, including international runs.
Muffy
Oil and gold on linen
24″x 36″
Artemis
Oil and gold on linen
18″x 24″
Natanya
Oil and gold on linen
18″x 24″
Stanley
Oil and gold on canvas
24″x 18″
Aura
Oil, chalk, and charcoal on canvas
18″x 24″
Sunny
Oil and gold on linen
40″x40″
Kate Citrin explores the pressures of society on identity by layering traditional portraiture in oil (used to elevate the subject to “high art”) with abstracted forms in “low-art” mediums such as spray paint or acrylics.
Portraits are usually only available to the elite. They give clout and teach about an individual’s achievements such as a family business or pet project. Using this same formula Kate elevates individuals from marginalized communities highlighting their acts of import such as emotional fortitude or rebellion.
Her technique begins traditionally, using home-made stretcher bars, hand-selecting the linen, priming using gesso or rabbit skin glue, and painting figurative works using an “inception” process where the painting is created four times (sketch, color study, tonal study, grisaille) before the first layer of color is applied. During the live modeling she interviews her subjects asking questions like, “What event would you consider most formative to who you are?” to get a feel for their lived experience. When a live interview is not possible she explores what the person is choosing to present visually.
Once the representational portrait and interview is complete she takes a sharp departure from tradition and layers in charcoal, gold, textured gesso, printing, and/or pattern to reflect the subjects’ self-identified (or discovered) acts of import. The final pieces lionize the necessity of creativity, rebellion, and self-love, especially in marginalized communities.