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painting with kristin
watercolor beyond the basics
Sculpture Portfolio
This space is where I share my sculptural practice, process, and evolving experiments with discarded house paint. My sculptural work repurposes returned latex house paint into sculptural objects that examine material memory, accumulation, gravity, repetition, and the shifting boundary between painting and object.
Stacks
These works explore balance, gravity, and slow transformation over time. Individual sheets and fragments of dried paint are layered into vertical piles, creating forms that initially feel structured and upright, but gradually soften and slump under their own weight. These pieces embrace change as part of the work itself, what begins as perky and architectural eventually becomes tender and organic. The sculptures reveal paint not as a static surface, but as a material with memory, movement, and its own quiet sense of agency.
Molds
These pieces begin with paint poured into everyday molds like ice cube trays and muffin tins, using domestic objects as temporary containers for color. Once dry, the paint is released from its forms, leaving behind small sculptural units that carry the memory of what once held them. The process highlights containment and transformation, how paint shifts from liquid to solid, utility to object. These works explore repetition and variation, turning familiar kitchen tools into quiet collaborators in the making of sculpture.
Line
These works begin with paint inside squeeze bottles, drawing long linear pours onto plastic tarps instead of creating large puddles. Once dry, the strips are peeled up and reassembled on the wall into painting-like sculptures. The process shifts paint from something fluid and horizontal to something suspended and static. These pieces blur the line between drawing, painting, and sculpture, letting color and form exist in space.
Cups
These cup projects begin with pouring latex house paint directly onto plastic party cups, allowing gravity to shape each form as it dries. Once cured, the cups are removed, leaving behind delicate, hollow structures that retain the memory of their molds. Each piece balances control and unpredictability, capturing drips, folds, and surface tension in frozen motion. The resulting sculptures feel playful and architectural, small vessels that hold both color and the history of their making.
Loops
These pieces begin as large paint puddles that are cut into small rectangles. Each strip is looped into an oval or teardrop form and individually hung on pins tapped directly into the wall. What starts as a single mass becomes a field of quiet, repeated gestures, emphasizing labor, rhythm, and accumulation. The work shifts paint from something heavy and pooled into something delicate and suspended, inviting viewers to slow down and notice subtle variations from piece to piece.
Holes
These works begin with pliable sheets of dried paint, punctured using a hole punch before being stretched and pulled across a surface. As the material shifts, the circular openings elongate into soft, oblong shapes, revealing the paint’s elasticity and memory. The process highlights tension and vulnerability, turning simple perforations into quiet acts of transformation. Each piece becomes a record of pressure, time, and the material’s willingness to give.
Caulk
The caulk projects expand my material language beyond house paint, introducing a more linear, drawn quality into the work. Using caulk as both line and structure, I build layered forms that feel somewhere between drawing and sculpture. The material holds its shape while still revealing the pressure of the hand, making each piece a record of movement and touch. These works explore repetition, accumulation, and restraint, creating quiet compositions that contrast with the more fluid, gravity-driven paint projects.
Studio
My studio practice is rooted in experimentation, repetition, and letting materials lead the way. I work with returned latex house paint, pouring it onto tarps, cups, and other found surfaces, then cutting, folding, stacking, rolling, and reshaping it once dry. The studio itself is an active workspace, part lab, part construction zone, where color, gravity, and time all play equal roles in the final outcome. Each piece evolves through hands-on trial and observation, embracing chance while revealing new sculptural possibilities in what was once discarded.
100 Gallons
This piece began with 100 gallons of white paint poured and layered across a 30-by-10-foot plastic tarp on the ground. Once fully dried, the massive sheet of paint was peeled up and hung on the gallery wall, spilling outward and asserting its own physical presence. Over time, gravity took over, and the work stretched and ultimately collapsed under its own weight. The piece embraced impermanence, allowing failure and change to become part of the artwork itself, a quiet reminder that even solidified materials continue to move, shift, and surrender.
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