Two-time recipient of Arts Council Silicon Valley’s Fellowship in Photography, Dunlevie has always been intrigued by apparent inconsistencies in time and space. In her photo-based mixed media works she transforms everyday images into compositions that hint at invisible, underlying structures and imperceptible extra dimensions. She is a featured artist in the Saatchi Gallery’s ”100 Curators 100 Days”. Her work has been exhibited at San Francisco Camerawork, the San Jose Institute of Contemporary Art, the Art Museum of the Americas, the Southeast Museum of Photography, Stanford University, and in conjunction with FotoFest at Hooks-Epstein Galleries and Rice University since 2002. Her work has appeared in the New York Times, the San Francisco Chronicle, Profifoto, La Fotografia Acutal, Art of England and ArtLies.
In these handmade photo-collages everyday, familiar images are transformed into compositions that hint at invisible, underlying structures.
Individual photographs have been fractured and reassembled to symbolize the building blocks of matter. Integrating these photographic shards with intact images has created recognizable but dynamically altered scenes.
It is as if surfaces have been stripped away to expose what is underneath: configurations suggestive of fundamental molecular structures or the frenetic motion at the subatomic level.
„David Hockney’s claims about photography and painting effectively illustrate not only Dunlevie’s use of paint but also her unique representations of place and space, which might be interpreted as an intriguing new variant of analytic cubism….." Don Snyder, "Not at First Glance", Gallery TPW Panscopic Journal, www.photobasedart.ca"
Inspired by a space, I photograph it segment by segment from various vantage points. Next, I arrange and rearrange the images until a new coherence emerges. The result - a photographic equivalent of a Cubist collage - is uneven, with visual jumps occurring wherever the edges of two photos meet. Finally, I paint, blurring the borders between photos and smoothing the abrupt shifts in perspective.
This knitting together of disjunctive parts seems to coax the space into giving up its secrets. It is as if a plateau’s sunken river bed were to unfold and rise up into the viewer’s line of sight, or as if a "mirror-on-a-stick" spy-toy allowed a look straight ahead to reveal details from outside the viewer’s visual scan.
The interweaving of perspectives creates a space with twists and ripples, revealing unexpected nooks and crannies and peeks around corners. The initial photo-collage is transformed, through the act of painting, into a pictorial space where weird transitions and subtle spatial anomalies emerge. The depiction of this new space is not just a record of what we see while moving in space over time, but includes elements that have appeared as if from beyond the customary four dimensions. Amidst the reorganization of the various perspectives, one catches sight of details not visible in the original space: details suggestive of the extra dimensions posited in contemporary theoretical physics.
This new pictorial space is not just a composite of things we see as we move through space and time. It also offers glimpses of what may actually exist around us that we do not see."
Kathryn Dunlevie 2006
Kathryn Dunlevie: Cover Versions, Gerald Brett and Thomas Leddy; Waverley Press, 2013.
Kathryn Dunlevie: Syncopated Spaces, Geri Hooks and Cathy Kimball; Waverley Press, 2012.
Kathryn Dunlevie: Another Look, Glen Helfand, Don Snyder, and Frederick Spratt, Waverley Press, 2012.
Not at First Glance: Images by Kathryn Dunlevie, Don Snyder, Gallery TPW Panascopic Journal, January 2004.
Kathryn Dunlevie / Paintings, Frederick Spratt, Frederick Spratt Gallery, 2000.