Kate Petley

Signal #6

2022

Kate Petley's unique photogravure monoprints, made at Manneken Press in 2022, are a conversation between printmaking, sculpture and photography. Petley began by making a 3-D assembl...

Kate Petley's unique photogravure monoprints, made at Manneken Press in 2022, are a conversation between printmaking, sculpture and photography. Petley began by making a 3-D assembl...

Kate Petley's unique photogravure monoprints, made at Manneken Press in 2022, are a conversation between printmaking, sculpture and photography. Petley began by making a 3-D assembl...

Kate Petley's unique photogravure monoprints, made at Manneken Press in 2022, are a conversation between printmaking, sculpture and photography. Petley began by making a 3-D assembl...

Kate Petley's unique photogravure monoprints, made at Manneken Press in 2022, are a conversation between printmaking, sculpture and photography. Petley began by making a 3-D assembl...

Kate Petley's unique photogravure monoprints, made at Manneken Press in 2022, are a conversation between printmaking, sculpture and photography. Petley began by making a 3-D assembl...

Phosphene #20, an edition of 3, is part of the artist's "At The Center of Seeing" Series. This archival pigment print is printed on Epson Enhanced Matte paper. Image size is 28.75" ...

Pupil #1, an edition of 3, is part of the artist's "At The Center of Seeing" Series. This archival pigment print is printed on Epson Enhanced Matte paper. Edition 2 and 3 are unfra...

Inspired by East Asian Sumi ink drawings, George McLeod wanted to find a photographic way of producing intricately detailed images. As with Sumi ink drawing, fire is both controllabl...

Laminated Giclée print on aluminum composite panel with Hirst's printed signature and numbered from an edition of 2573 on the justification label on verso. With the original packaging.

Kalee Appleton's work blurs the line between drawing, sculpture and photography, while challenging the traditions of photography by exploring technology and materiality. This work investigates the complicated relationship between society and the nature by displaying visual platitudes of idealized depictions of flora. By controlling and restricting the physical frame to a gesture, a mark reminiscent of a photoshop post-production brush stroke, digitally manipulated imagery is manifested into a physical object that wavers from a flat 2D photograph to a 3D object. The digital nature of the altered photographs is repeated or obviously falsified through various digital techniques. This digital-ness is transferred to the physical realm through the display within irregularly shaped wooden frames that contradicts the materiality of what is typically associated with a solid wooden structure and creates a sense of cohesion between natural and virtual motifs. Kalee Appleton is a photography-based artist and Assistant Professor of photography at TCU in Fort Worth, Texas. Originally from Hobbs, NM, she attended Texas Tech University and received a BFA in Photography in 2005. Shortly after graduated she worked as a commercial corporate and aviation photographer before attending Texas Woman’s University, where she received an MFA in Photography in 2014. Kalee's work deals with the digital technologies and their effects on society and the landscape. She exhibits her artwork with Erin Cluley...

Kalee Appleton's work blurs the line between drawing, sculpture and photography, while challenging the traditions of photography by exploring technology and materiality. This work investigates the complicated relationship between society and the nature by displaying visual platitudes of idealized depictions of flora. By controlling and restricting the physical frame to a gesture, a mark reminiscent of a photoshop post-production brush stroke, digitally manipulated imagery is manifested into a physical object that wavers from a flat 2D photograph to a 3D object. The digital nature of the altered photographs is repeated or obviously falsified through various digital techniques. This digital-ness is transferred to the physical realm through the display within irregularly shaped wooden frames that contradicts the materiality of what is typically associated with a solid wooden structure and creates a sense of cohesion between natural and virtual motifs. Kalee Appleton is a photography-based artist and Assistant Professor of photography at TCU in Fort Worth, Texas. Originally from Hobbs, NM, she attended Texas Tech University and received a BFA in Photography in 2005. Shortly after graduated she worked as a commercial corporate and aviation photographer before attending Texas Woman’s University, where she received an MFA in Photography in 2014. Kalee's work deals with the digital technologies and their effects on society and the landscape. She exhibits her artwork with Erin Cluley...