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Cincinnati Ohio 45219 United Stateshome Home Phone: 513-374-1153home
Kim Krause is a Cincinnati native whose paintings have been included in over 150 exhibitions both nationally and internationally, including 15 solo exhibitions. The artist’s work has been purchased for numerous public, private and corporate collections including Atlantic Richfield, Cincinnati Art Museum, The Evansville Museum of Art, Chase Manhattan Bank, Macy’s National Headquarters, Fidelity Investments, The Procter and Gamble Company, PNC Bank, Safeco Insurance, Scripps Howard Corporation, Baukunst Galerie Ring Project, Cologne, Germany; and the Federal Reserve Bank, among others.
Krause has been artist-in-residence at the Atlantic Center for the Arts in Florida; Rathausgalerie, Munich, Germany; The Cooper Union, New York; the Chateau, Rochefort-en-Terre, France; Spiro Arts, Park City, Utah, and The Santa Fe Art Institute in New Mexico.
Krause attended the University of Cincinnati College of Design, Art, Architecture, and Planning; Birkbeck College, University of London, England; earning his BFA from the Art Academy of Cincinnati and his MFA in Painting from The Milton Avery Graduate School of the Arts, Bard College, New York. He retired in 2018 as professor of Art at the Art Academy of Cincinnati where he was Senior Vice President for Academic Affairs and Academic Dean.
He is represented in the Cincinnati area by Miller Gallery.
What Drives the Work
How these diametrically opposed states create an uncertain, active equilibrium. I find I have a need to arrange disorder into organized sets and patterns even though I grasp the impossibility of the act. Over the years I have become more accepting of chaos as a fundamental element in the creative process.
I am interested in the human search for a meaningful life and how this search to feel alive can intersect with desire. The desire for experience, to live in a particular moment, to feel, and how these forces reveal, blind, and teach. To explore the possibilities and to be as curious as Eve in the garden.
Embracing the uncertainty of an engaged process
I want the work to take me to places I have never been and test ideas and challenge my status quo; keep me slightly on edge. The process must be malleable and have me working beyond my comfort zone. I want the work to ask me “what do I believe to be true.” I want to exercise processes that constantly place the work at risk of failure in order to create new forms that speak to my present condition.
The work needs to celebrate the absurdity of life in a way in which comedy and tragedy coexist simultaneously; “that combination of terror and joy.”
I am drawn to the beautiful and desire the work to possess this quality. Beauty for me involves strong sensations of uncontrollable well-being, and something I did not expect. Beauty moves me from one state into another without my consent, leaving me feeling the moment and giving me “what I need at the expense of what I want.” I want my work to embody the beautiful in an awkward and slightly uncertain way.
Color and Light
For me color can create a wide range of sensations including a sense of light and space. Strong color moving toward excited emotional states helps me avoid the decorative and tasteful. I want color to be the opening invitation to look and then to savor and startle.
Space means some sense of breathability to me. It creates pathways into and through an image the eye can travel along, traverse, or fall into. It can be shallow emphasizing the picture plane, or incorporating the tools of illusion to mimic the known world. Space creates air and when combined with light (color) creates combustion.
Activity can be harnessed but not captured. Movement dances around the static and creates a visual music with changing tempos, melody and chorus. It contributes to aliveness even if gentle and slow. The velocity with which the eye is directed to move from one part to another defines its type of energy.
For me, composition is the hidden means by which all of the elements combine into an organic unity. It helps me discover and build relationships between everything in the picture often revealing connections I had not consciously made. It gives me agency to repattern my known worlds into new ones. Composition establishes new rules for each new work which can never be repeated. An invisible hand tying parts into a whole.
I enjoy working with materials I can touch, smell, and manipulate. I fell in love with the magic of paint in college and declared it to be the material through which I would engage the world. Yet there is a duplicity, in which material is unabashedly present while simultaneously transformed into something else – energy, light, texture, space, movement, personality, disposition, time. In the end, all there is, is the paint.