A statement from the artist:

I create watercolor paintings capturing the unexpected beauty of commonly overlooked subjects. I isolate a blade of grass from an ocean of green to reveal its uniqueness. I dwell on the warmth and beauty of a rusty car as nature reclaims it. I reflect on the weathered grooves gouged in an old wooden door. I wonder at the orchidlike character of a weed. I celebrate creatives in object portraits of their environments. I am compelled to share my observations with the goal to stimulate in my viewers the desire to look for the beauty that exists everywhere.

Plus, a few fun questions!

How did you come to focus on your current subject?

It was during my first guided fly-fishing trip where I was introduced to musky flies.  When PJ our guide opened up his case and I saw the big, beautiful, colorful sculptures of feathers and fluff, I was hooked.  I started experimenting with ways to capture the image and found that floating the fly on water allowed it to expand and gave it a sense of movement.  

Can you articulate what draws you to a particular composition?

I try to interpret everyday objects in a realistic painting that are not always recognizable by the viewer.  I love rich colors and a little unusual for watercolors.

Who or what has strongly influenced your work?

I have always loved watercolors and probably was influenced very early on by Andrew Wyeth. I purchased a table top book with is paintings and loved the emotion the paintings created.  I have also loved botanical paintings probably because I have a science background and the images were helpful during biology class.

If you could have one work of art in your home from a museum or private collection, what would it be?

A mobile sculpture by Alexander Calder. When I was about 10 and we received the annual update to the World Book Encyclopedia there was an art version and the Calder sculpture was my favorite. I think the kinetic aspect and the bright colors that are appealing.

Why did you decide to work in your chosen medium?

A mobile sculpture by Alexander Calder. When I was about 10 and we received the annual update to the World Book Encyclopedia there was an art version and the Calder sculpture was my favorite. I think the kinetic aspect and the bright colors that are appealing.

What’s the most indispensable item in your studio?

My scrubbing brush that helps lift paint.  I have tried several different brush types, but the one I use regularly just seems to work the best.  That of course is only when I make a mistake.

How do you know when a piece of work is finished?

Sometimes I have to be told by advisors, but often when I just don’t want to keep pushing the subject and when more paint just makes it muddy.

From where do you draw your inspiration?

I am probably influenced by things that I have known for years like interesting but different flowers, rusty equipment, tools of all sorts, and things that are in a strange juxtaposition. Irony and visual puns.

What does your studio look like?

My studio is located in the front corner of my living room.  I have a 3 ft x 6 ft table on rollers with a bookshelf behind me and some mobile files for supplies.  I have frames and mats and other supplies located in a guest bedroom (not too many guests).  I have two windows, most of the light is diffused from the north window with some afternoon sun from the west.  I use a couple of light sources over the work area. 

Is there anything else you would like to share about your work?

I try to bring out childlike sense of wonder in my work.  My subjects may be common but the images are not always recognizable and I hope this will stimulate a curiosity to find out more about what the items are in the paintings or what kind of story they tell or trigger a memory of the viewers story.

Learn more about Katherine!

A Wisconsin Watercolorist Capturing Unexpected Beauty

Katherine Ford is a dyed-in-the-wool Wisconsinite who has sketched for personal enjoyment her whole life as she pursued a career in public service. For the last 15 years she has shifted her creative focus to an exploration of watercolor painting and to develop a unique body of work that celebrates the rural world that surrounds her.

Ford’s subject matter has evolved over the years from a focus on extreme close ups of flowers to include animals, landscapes, mechanicals, and still-life. Her artistic attention focuses on finding beauty in commonly overlooked subjects. She is drawn to rustic surfaces and textures resulting from age and use. Her images evoke callused hands and knowledge gained by years of experience. Current paintings celebrate the artistry of under-appreciated and too often invisible occupations showcasing work benches people use to “make things” using their highly developed skills, problem solving, and knowledge gained through experience.