Student Spotlight: Kathryn Godoy

Gazing at the heads of beekeepers, it seemed as if I was in a hypnotic state, guided by the words of fine artist Kathryn Godoy. Kathryn spoke so eloquently and profoundly of her artistic passions that I found myself in a trance. I was able to enter her world of expression and relate it to my own life experiences. Sitting on the balcony of the 10th floor, Kathryn allowed for me to explore her world through her art and reflections.

Blush Magazine: How and when did you get into fine art?

Kathryn Godoy: I’ve really just never put down my crayons. My earliest memories are of drawing fairies in preschool. I’ve always had a compulsion to create but I never envisioned I’d be pursuing art as a career.

B: Does school inhibit or spark your creativity?

KG: I feel it does neither, but [it] slides more to sparking it. It definitely helps get my momentum going once I adjust from a break of doing nothing but eating grapes to cranking out 3 paintings a week; I begin to incorporate the things I think of in class that would be interesting to try and fulfill that within my own work. Regardless, creativity comes in waves.

B: What are you inspired by?

KG: People: their quirks, their rituals, their bodies. Also, a lot by illustration. I love works grounded in observation but are pushed towards abstraction.

Blush: What is your issue with the industry you inhibit?

KG: Not enough representation of both people of color and women. Fine art can be very elitist as well. It almost feels success within my field is obsolete, if not a very difficult egg to crack.

B: In times where you feel a creative block, how do you find the drive to keep creating?

KG: I have to tell myself that not everything has to be a masterpiece. It’s more important to keep creating to me than it is to make everything beautiful. And when it was the other way around, I found myself stumped not creating because I put this unnecessary pressure to make everything perfect. But ugly is interesting, dirty, messy, sloppy. It’s human; plus it keeps me going. It’s made by me and I’m clumsy, so my work is as well. I think it’s important for us, myself especially.

B: What do you love most about yourself?

KG: I like the way I am able to help other people. I feel like a reason I’m here is to guide [others]. I don’t have it all figured out, but I manage just fine. I am very good at getting people to see good within themselves and within their own work.

 

B: How has your style evolved over time?

KG: I’ve gone from very literal and tight to much more loose, physical and definitely abstract. As time goes on I feel more comfortable with the power of my mark. I gained more confidence, and that has allowed me to make my vision more connected to my process and my outcome.

B: What do you think your role as an artist is in this society?

KG: What I like about being an artist is there is no one role we have. Mine is to observe. To speak my truth and what I see. But also, to collaborate.

B: How is your personality reflected in your work?

KG: I am bold, loud, an open book and also introverted and quiet. I think that duality is definitely at battle within my work.

B: Are there any particular artists who have inspired you or impacted the way you design?

KG: Absolutely. Helen Frankenthaler, a brilliant abstract expressionist. Louise Bourgeois is my art mommy. I’ve imprinted on her work. Her prints are integral to how I design, [and] even to how I draw within my own sketchbook, my own space. Also, my dear friend Ruby Sgueglia; she is a wonderful illustrator [and] someone who continuously inspires me.

B: What inspires you to start something new?

KG: Boredom? But also, when I feel I have something to get out.

B: Do you ever question your abilities or progress?

KG: All of the time. It’s not just artists, it’s human nature to do so. I remind myself that no matter how hard someone tries they can never make the same mark as I can and vice versa. It is my own slice of special.

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