Kathryn Godoy's Dream-Woven Assemblages
In this second interview as part of The Psychic Landscape series, Kathryn Godoy, invites us into a realm where memory and space converge to explore assemblages rather than traditional paintings.
Kathryn shares the spirit behind their approach, where reading, writing poems, and creating music intertwine to shape their art. The tactile allure of their work draws viewers into deeper engagement, as paper becomes a canvas for large, fragile, and intricately painted pieces that transcend boundaries.
In this interview with co-curators Veronica Petty and Francisco Donoso, Godoy articulates a shift towards themes of protection and healing in their recent work, balancing whimsy and the mystic — forged from the depths of loss and pain.
Kathryn Godoy (they/them) is a 24 year old artist working in Brooklyn, NY. They hold a Bachelor’s Degree in Fine Arts from the Fashion Institute of Technology. Since graduating their interest in memory, myth, and spirituality has been woven into their practice. Kathryn’s playful color palettes and text complete gelatinous imagery of celestial bodies and creatures in unreal spaces.
Kathryn, your work explores the connection between memory and space. Could you share the inspiration behind your unique approach to creating art as assemblages rather than traditional paintings?
It's a spirit. To create a painting, I must also be reading, writing poems and creating music. The different media provide play and new perspectives which drives my paintings. This is why I like to consider them assemblages since they contain bits and references to all my art making, collecting, dreams woven together.
The tactile quality of your art is quite striking, and it invites viewers to engage with the works on a deeper level. How do you think this tactile experience enhances the understanding of your themes of memory and transformation?
Paper is a familiar surface for many though not popularized as a foundation for painting. My paper paintings, large, fragile, sometimes painted on both sides, are transformed to art objects through the act of painting, cut to a size and shape that fits the composition or story I hope to convey. As far as memory goes, the more free-form, ambiguous surfaces have a more hand-made feel and connect to memory’s soft edges.
Twin of myself, 35” x 46”, Acrylic on paper, 2023
You've mentioned the use of color, texture, and opacity in your work to create "psychic landscapes." Can you describe how these elements contribute to the emotional resonance of your pieces?
Looking through my own eyes the emotional resonance of my pieces is connected more to the forms, creatures, body oddity, distorted space, which are built and punctuated by color, opacity, and texture. I use vibrant color because I like it and they brighten up what is created from darker themes. Transparency is like veil thinning.
move slowly so i don’t get any paper cuts, 16”x20″, acrylic on canvas, 2022
The imagery of stars and celestial bodies in your work adds a spiritual dimension. Could you elaborate on how these celestial references play a role in your art and convey a connection to the world around us?
The natural world, including the cosmos, are deeply significant and spiritual to me. The moon phase I use as a symbol of something transformative and cyclical, stars as something to wish on, to reach for. We all live under these celestial bodies, to me they offer an entryway to a connection to the mystery and vastness of life.
You've mentioned a shift in perspective towards themes of protection and healing in your recent work. How has this evolution influenced your creative process, and what message or emotions do you hope your art conveys to the audience?
It’s affected mainly the internal space from which I create, my motivations, my pacing as well. I’m getting more specific, simple and silly in the studio. I’ve been loving these graphite drawings on wood. I hope my artwork holds a balance of whimsy, mystical delight alchemized from the depths of loss and pain. Or maybe just a cool picture, that's cool too.
a moon so bright i can not see my shadow, 48″x 64″, acrylic on paper, 2022
Thank you to Kathryn for providing such incredible background into their work. We are left with a profound appreciation for their playful color palettes, and the exploration of spirituality and memory in their stunning assemblages.
Join us at The Psychic Landscape opening on February 1 at NYC Culture Club, where you can view the vibrant color, texture, and opacity of Kathryn’s art alongside the work of Paola de la Calle, Francisco Donoso, Elsa Muñoz, and Marisol Ruiz.