Heidi Kirkpatrick is a force of nature.

I have been a fan for a very long time, and when the opportunity availed itself with her inclusion in Crossing Territories, I was thrilled to have her work hang here in the gallery. Her complex detailed images, full of symbolism yet open for interpretation, are a feast for the eyes. So much to play with, participate in, its always hard to decide on selecting just one to hold in your hand.

Her work takes common objects and breathes into them new life. Her use of the female form, in all their beautiful curvy shapes, gives softness to structure, sensuousness to hard edged specimens. Found objects, like mint tins, silk boxes, cigar, cigarette and souvenir containers, all become handcrafted works of art. It is a playful way to showcase her work, as well as a way to transcend what a photograph is and how we perceive showing photographs.

From Heidi’s artist statement –

I am in love with film. All of my work is made with film. I shoot on film. I print on film. I do all of my own work in my darkroom. I like it dripping off my elbows. I do not use a lot of fancy equipment. My “models” are the people who are closest to me, my family and friends. I love layering the film positives over anything and everything I can think of or find. My studio is filled with found objects that inspire me, and photographs, lots and lots of photographs.
I often use photographs to transform these found objects into pieces of art…..

I also live with a substantial amount of physical pain and have for many years. In my continual search for an answer, as well as my way of dealing with the unexplained, I dissect my copy of Gray’s Anatomy. The pages find their way into my work, layered under images of those closest to me. The illustrations bind, clothe and wrap the body. Putting the inside on the outside, I wear my heart on my sleeve.

Reminiscent of nineteenth century cased images and tintypes; Specimens are housed in small hinged tins that open and close to reveal or conceal the secrets they hold. Plates are made in sixth plate size on copper that has been finessed with fire creating patterns similar to collodion pour lines of vintage tintypes. These works depart from the frame as they are arranged on a table top or a shelf, often stacked or placed side by side to reveal narratives of family life or the complexities of the feminine allure while drawing on memories, contemporary issues, and visual formality.

For Fredrick

Reveal

shattered

cord

exposed