Studio Visit: Michele Kishita

Michele Kishita, painter
Philadelphia, PA
www.michelekishita.com


Michele Kishita’s pantings radiate with visual material; simultaneously, there is a sense of subdued tranquility that lures the viewer into her nuances of color and texture. Addressing properties of water, it is only appropos that Kishita’s body of work transform as well, maintaining interest and energy, and contain a continual flow of uniformity.

More than just literal landscape paintings, Kishita desires to “capture the memory or spirit of the landscape rather than render an objective depiction.”  Her recent work uses the pull of gravity to lead paint drips in an orderly way that builds on the composition.  Billowy cumulous clouds of bold hues perch inquisitively on a foggy horizon, partially concealing patterned collage, as well as delicate gold leaf.  In her work “Wildflower Gorge,” a dark charcoal valley twists through the image, while a torn floral collage of origami paper observes quietly on the side.

Kishita’s work, like nature changing throughout the seasons, has bloomed.  Previous investigations of paint marker on Bristol board have transitioned into dimensional cut shapes of wood panel, creating scenes and referencing dioramas or theatrical sets.  Special care is taken to the cut edges of wood; Kishita uses torn patterned paper and meticulously wraps the edge.  Thus creating a physical border that further defines her intentions of portraying perspective through her painting without the traditional use of a horizon line.

As an artist, Kishita embraces her life experiences and allows for her thoughts and interests to be reflected in her work.  The influence of her time spent in Japan is depicted in her paintings in several ways.  Formal characteristics found in Katushika Hokusai’s prints can be interpreted in Kishita’s work.  Crisply painted edges, looming foggy skies, and towering mountain ranges have left a lasting impact on both artists’ work.  However, Asian influence is not the only cultural reference found in Kishita’s paintings.  She alludes to heavy patterning of Gustav Klimt, whose trademark style incorporates repetition of rhythmic shapes and is also known for an affinity of using gold in his paintings.  Kishita’s ability to capture gentle atmospheric landscapes evoke tones from American painter Milton Avery.  His paintings of broad shapes of color have a representational sensibility to them, yet they can be described as abstracted due to the flatness of areas.  His ability to capture a sense of space within the layers of paint has defined him as a quintessential American painter in twentieth century art history.

By building layers of paint and collage and working them on the surface, Kishita is able to capture a topographical depiction of an environment through a two-dimensional media.  Works in progress allude to a change in thought and experimentation; wood panels have begun to warp and curve away from the wall.  One can only imagine the spirit of the landscape beckoning to the panels; therefore enticing us for what is yet to come.  Pondering the principles of change in the Japanese aesthetic of wabi-sabi, Kishita’s work leaves the viewer reflecting upon their own personal experiences: to cherish what is impermanent, simple, and imperfect.