One of the most compelling contemporary artists I know is Brooklyn-based Kate Steciw. Kate has been producing energetic work in high volume for the past few years, and she’s dissecting the image in many ways. She transforms the photograph into object:
Kate Steciw, Death Mapping (The Mountain)
Kate Steciw, Rug Portal
She has also been busting apart photographs in two dimensions, incorporating all manner of digital trappings from advertising photography to online habits:
Kate Steciw, Apply, Applications, Auto, Automotive, Burn, Cancer, Copper, Diameter, Fire, Flame, Frame, Metal, Mayhem, Pipe, Red, Roiling, Rolling, Safe, Safety, Solid, Strip, Tape, Trap, Trappings
Kate is running full steam ahead, and shredding traditional photography along the way.
The layering and building of Kate’s individual pieces as well as her body of work brings to mind the amazing sculptor Diana Al-Hadid.
Diana Al-Hadid, At the Vanishing Point
Al-Hadid’s work is layered with references to art history, past cultures and architecture. She builds her pieces with modern construction materials- gypsum, aluminum, fiberglass- and yet they look as though they have evolved naturally, layer upon layer.
Diana Al-Hadid, Gradiva’s Fourth Wall
Diana Al-Hadid, Suspended After Image
I see in Al-Hadid’s work the same high level of energy and total commitment to the work. I also think that she is engaged with the history of sculpture and with pushing the medium forward while nodding with honor to the past.