More elegantly muscular than delicate (after Zio Baritaux), archival pigment print (edition of 3), 2020
Kelda Van Patten (b. 1972) constructs still life photographs that explore kitsch as myth, or curiosities that evoke desire and comfort, while masking denial and loss. Her process merges digital photography, drawing, and temporary sculpture. Through a feminist lens, she constructs and photographs objects in “real” space, while adding layers of digital information. Kelda’s photographs live within a chaotic framework where the very identity of a photograph is in question; the perceived truth of the medium is interrogated.
Kelda has recently exhibited her work at Platform gallery (Seattle), Blue Sky Gallery (Portland), and Foto Relevance (Houston). She has work published with Bloomberg Newsweek, Fraction Magazine, and In the In Between. Kelda holds a BFA in interdisciplinary arts from the San Francisco Art Institute, an MAT in art education from Lewis and Clark College, and a MFA in craft and material studies from the Oregon College of Art and Craft and the Pacific Northwest College of Art. She is also an art instructor and has taught in higher ed as well as several K12 schools in the Portland metro region.
What fragments of her history live inside of my body? (after Rebecca Solnit), archival pigment print (edition of 3), 2020
Pleasing but unnecessary, archival pigment print (edition of 3), 2020
She never utters precisely the nature, archival pigment print (edition of 3), 2020
This pineapple wants to eat me, archival pigment print (edition of 3), 2020
Fruit of the Loom / Womb, archival pigment print (edition of 3), 2020
The tulips should be behind bars like dangerous animals (after Sylvia Plath), archival pigment print (edition of 3), 2020