Isolde Kille is an interdisciplinary Artist working primarily in painting, photography, sculpture and Video.

Born in Welver, Germany, she studied visual communication at the art academies in Berlin and Dresden, finishing her studies with a master's degree in fine arts (Meisterschüler) at the University of Arts in Berlin, Germany.

As a graduant student in Berlin, Kille was involved in several independent art inititatives, including 241, an art 'fanzine' named for the room number in which she and her fellow students developed the project. Intended as a forum for the burgeoning art scene of Berlin, 241 helped launch Kille's career, gaining her the attention of galleries, collectors, and curators in Germnay. Most notable, 241 brought Kille into dialogue with the international art community, which inspired her to travel to New York. Feeling creatively liberated in the United States, in 1998, Kille made New York City her home, and embarked on a productive period as an artist.

In the artist's own words, she utilizes multiple media and techniques, 'to make visible not only the constructed nature of imagery but also the potential to change them. In my work, I move along the shifting line between the random and structured, revealing different facets of my preoccupation with the powers and handicaps of perception. Each of these works has a secret twist. The tension between what we initially notice and what is actually there resonating through our encounter."

The artist's early developed Cosmic series demonstrate this tension of perception. These black and white paintings use various painting techniques to mimic celestial phenomena, some employ abstract expressionist effects, which, contrary to expectation, have a photographic illusion from distance; others reject the painterly brushstroke to create neutral images of the serene static of the Universe. Works from the Cosmic series were included in the artist's first group show in New York at John Gibson Gallery in 2000.

Kille continued to explore perception and reality in multiple media; she broke mirrors 'to break aways from superstition', only to reconstruct them into a new broken reality; she created large photograohic exposures called rayograms, honoring her own art historical lineage to Man Ray and Moholy-Nagy; she created ink washes that balance a persistent inquisition of concepts of time, space and self, and self, within ominous, Rorschach-like dual dimensions. Throughout the first decade of the 21st century, the artist enjoyed consistent exposure in Galleries throughout New York, although she increasingly felt a need to seperate herself from what she described as the 'sensationalism' of the art market.

In 2009 the artist moved to a Zen Center, living in the Buddhist community for thirteen months. During this incredible focused time of self-reflection and meditation, the artist was 'free of the pressure of the market and at the same time continued her interest about Time, Space, and existence. The resultant body of work, which includes photograohs, drawings, and video documentation, is far more introverted than her previous pieces, with a more concentrated developing interest in Nature. In a video documenting drawings made from stenceling her own body, the artist acknowledges the influence of Haiku poetry, which is an art more of 'showing' than 'telling'.

Kille's self-isolation from the art market was a fruitful and inspiring experience. Ultimately, she decided to follow in the footsteps of other artists and curators in her circle and moved to Santa Fe in 2012, where she still resides today. Her current work still explores perception and our relationship to reality: in the series The definition of Abundance, 'close up' photograhs dissolve into high-keyed abstractions of color and light; in Under the moon, enamel paint, iron dust and silver nitrate produce otherworldly images, their painterly process in tension with the glossy alchemy of its media. These works elude easy definition: Our world is saturated with depth illusions!

Isolde Kille has shown her work domestically and internationally at venues such as: Kunstwerke and Kunsthaus Bethanien in Berlin, Germany; JoHn Gibson Gallery, New York; The Bass Museum, Miami Beach, Florida, among others.

Sabine Wilson, PHD

 
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