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Known for her richly colored paintings built with layers of monochromatic enamel, Shepherd’s decades-long exploration of perspectival space investigates the relationship of paintings to their environs; the various reflective surfaces establishing a spatial discourse across the panel, the viewer, and the gallery space. Joined wood panels, connoting the architecture for which the paint is meant, are the base of the paintings. This method results in a gleaming, reflective surface, which allows the viewers to see their own reflections and also guards the intimate image from view. At times, Shepherd interrupts the glossy quality of the enamel, sanding large areas down to produce velvety fields that show pentimenti of color and faint lines of obliterated brushstrokes. Being situationally reactive to light and movement, the paintings take on sculptural characteristics in their constant change. The artist’s oeuvre also encompasses works on paper, which examine her constant evolution of the exploration of primary, secondary, and tertiary color. 

Shepherd has exhibited at museums and galleries across the United States and Europe since 1994. Her most recent museum solo exhibitions include Kate Shepherd: Lineaments, Charlotte and Philip Hanes Art Gallery, Wake Forest University, North Carolina, and Intersections: Relation to and yet not (homage to Mondrian) by Kate Shepherd, Phillips Collection, Washington, D.C. Shepherd’s work is featured in numerous museum collections including the Albright-Knox Art Gallery, New York; Baltimore Museum of Art, Maryland; Eli and Edythe Broad Art Museum, Michigan; Des Moines Art Center, Iowa; Indianapolis Museum of Art, Indiana; Los Angeles County Museum of Art, California; Museum of Fine Arts Boston, Massachusetts; Phillips Collection, Washington, D.C.; Scottsdale Museum of Contemporary Art, Arizona; and Seattle Art Museum, Washington.

The artist lives and works in New York City, where she was born in 1961.

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