Wednesday, May 23, 2018

Solo Show Exhibition Annoucement!

I am in the midst of preparing for my second solo exhibition. Details to follow! For now, I would like to share some concept sketches and drawings. Trying not to reveal too much just yet... :)

Saturday, November 18, 2017

Fabbyloso Unicorn Art Show!

The Fabbyloso Unicorn Art Show is the next show that I am participating in. I have been working diligently on creating a fabulous unicorn painting! Be there kitty kats! MWAH!

Google Map Directions here! 

Sunday, October 1, 2017

Nightmares of San Antonio

Hey fellow art lovers!

I have just returned from traveling and I have been falling behind in the blogging department, which I plan to update with a wonderblog full of beauty seen in Houston, Dallas and New Mexico.

A couple weeks ago, I had the pleasure of exhibiting a couple of my skeletal being paintings in the community gallery of Nightmares of San Antonio, an event that focused on the paranormal and supernatural hosted by Que Retro Arts and held at the Brick, in San Antonio. I created a new little painting for the event that I entitled, "Edgar in the Sky". The paintings are available for purchase in my online art shop.

"Edgar in the Sky" oil on wood panel

                                                         Purchase Edgar in the Sky here



Friday, June 9, 2017

Crossing Borders

Clamp Light is pleased to host “Crossing Borders”, a postcard show and fundraiser for RAICES (Refugee and Immigrant Center for Education and Legal Services).

Works will be sold for $50 each. 50% of sale to the San Antonio chapter of RAICES, with 50% going back to the artist.

I'm humbled to make it into this show..
 From Clamplight Gallery's Event Page:
“Crossing Borders” seeks to celebrate the immigrant spirit that is part of the American story, raise awareness about the immigrant and refugee crisis, and strives to help those affected. Postcards are a symbol of travel and can provide cross-cultural connections between friends and family abroad or even closer to home. Through this exhibition and in collaboration with RAICES, Clamp Light hopes to support a cause that deeply affects our community while connecting individuals from diverse backgrounds". 
Opening: Friday, June 9th 6pm – 10pm
Exhibition on view June 9th – June 30th, 2017
Clamp Light Artist Studios and Gallery
1704 Blanco Rd, Ste 104, San Antonio, Texas 78212

 My postcard entry for the show. 

I wrote a quote from Victor Frankl on the back of the postcard.

Tuesday, June 6, 2017

Embellishing Podling Print

This is an experimental film bit I shot during the process of embellishing this print. Thought I'd play around with cuts and speed. This giclee is printed from a painting I did entitled, "Podlings".  It is a giclee printed on watercolor paper and I am using Winsor Newton gouache to add some touch ups. This was the first time I embellished a print in this way, making it more expressive and let it stand on its own as a one of a kind piece.  It is currently available  in my Etsy. The music is a loop I composed in an app called Korg iKaossilator on the Ipad, its super fun! It's available in the app store.

Saturday, May 20, 2017

Crux Recap and Walk Through Video

Hello! I have been in the midst of updating and changing the format of this blog and giving  it an overdue refresh and facelift!  Here is a video I shot of my solo show from last November, "Crux"
 If you are interested in purchasing available pieces please check my store Artwork Available for Purchase from "Crux"

Friday, November 11, 2016

My Solo Show "Crux" opens tomorrow!

Hard to believe that my solo show will open tomorrow...

Provenance Gallery is pleased to present, Crux, an exhibition featuring recent paintings by Kat Shevchenko.

"Crux is a documentation of the the internal world of the psyche in the moments of upheaval. When I came across the the word crux, meaning, the core, or essence of something resonated with me. I knew that was the impetus of what my current paintings' theme had been revealing. While I created them I was battling my internal morass with the need to reconcile changes that had transpired within and without. Life’s trials and struggles produce alchemical reactions that forever transmute the self. In Crux, I longed to capture the beautifully chaotic process of transformation at the pivotal moment as it transpires, or in the wake of its aftermath. This mysterious process is depicted in the feminine embodiment with symbols from the natural world to reveal what is simmering beneath the surface of consciousness. At times devastatingly emotional, at other times existentially retrospective, these are the introspective journeys within that are seldom seen."

Tomorrow, Nov 12, 7:00 PM - 10:00 PM
Provenance Gallery
1906 South Flores St.
San Antonio, Texas 78204

Wednesday, September 7, 2016

Art Heals Hearts

I am delighted to have a couple of paintings selected for the Art Heals Hearts: Art, Music and Poetry Exhibition benefiting the Ecumenical Center which provides therapeutic counseling services that focuses on art creation as a catalyst for healing.  Wonderful organization that does a great service to the community.  If you do not have a chance to attend the opening reception event on September 9th, the show will be up until January 6.    



To Learn More About the Ecumenical Center


Art Heals Hearts Event Page


Rivard Report Art Heals Hearts Feature


Sunday, May 29, 2016

Solo Show Annoucement in November at Provenance Gallery

I'm truly happy to announce that I will be having my solo show this November at Provenance Gallery. The working title is "The Crux of Transformation." 
I am attempting to decipher the mysterious and beautifully chaotic process of transformation, portrayed through portraiture of women with surrealistic symbols from the natural world within their psyches that are simmering beneath the surface, yet are manifesting in an alchemical reckoning of personal discovery. At times devastatingly emotional, at other times existentially retrospective, these are the journeys within that are seldom seen.
I'll be creating new paintings for this, for now here is a my sketch-a possible direction?

Thursday, April 7, 2016


I'll be live painting and vending some art with other local artists and djs! 

Thursday, February 18, 2016

The Guest House

It has been a crazy, dark time for me lately, and nothing enlightens and touches the soul like the words of  Rumi. This poem resonated to me this morning.  

The Guest House

This being human is a guest house.
Every morning a new arrival.

A joy, a depression, a meanness,
some momentary awareness comes
As an unexpected visitor.

Welcome and entertain them all!
Even if they're a crowd of sorrows,
who violently sweep your house
empty of its furniture,
still treat each guest honorably.
He may be clearing you out
for some new delight.

The dark thought, the shame, the malice,
meet them at the door laughing,
and invite them in.

Be grateful for whoever comes,
because each has been sent
as a guide from beyond.
A teaching story translated by Coleman Barks

Thursday, February 4, 2016

Seth Camm-"Humanist Painter of Life"

It's been a while since I've updated the ol' blog! Been busy with art projects that I will update soon! Here is a throwback to an article I wrote last year, an artist interview I did for arts magazine, Plumage-TX featuring San Antonio-based artist, Seth Camm.  If you don't know about his work and impassioned art, you should take a moment and do so, you won't regret it. :)


Plumage-TX August 2015 Issue

Seth Camm: Humanist Painter of Life
By: Katherine Shevchenko, Art Consultant, Boerne, TX     
No matter what subject San Antonio-based artist Seth Camm is portraying, there is always an utter rawness to his execution that leads to discoveries that break the bounds of the medium of paint itself.  Whether it is portraiture, still lives, florals, or a distinguished home, Camm can show the viewer an undeniable honesty.
For Camm, the path of the arts has been a lifelong endeavor. “Well to begin, up until my teenage years, I didn’t know there was such a thing as an artist. I always expressed myself on paper growing up all thru elementary school and middle school. I never really concentrated on school work, usually always getting just barely getting by, with the teachers wanting to hold me back a year and my mom fighting them. I was in Special Ed. classes until 7th grade. I believe it was in high school, sitting in art class as my art teacher spoke that the light clicked on. The teacher described what an artist actually was, one who devoted themselves to art their entire life making paintings, etc. It was at that moment, with the first understanding of what an artist was, that I knew I wanted to be an artist. Reading a large book on art history and Modern art, I saturated myself in the understandings of art. I also started to visit the McNay art museum and copied the pictures there in pencil and paint, realizing in great astonishment that the artists I had read about were the same artists that were hanging on the wall.”
 Camm received his formal art training at the Pennsylvania Academy of Fine Arts, where he received his MFA. Afterwards his studies continued with master figurative painter Nelson Shanks and then to Norway to study with eminent painter, Odd Nerdrum. “Watching Odd Nerdrum work, being in my early 20’s and having this experience--no words can describe the impact that this has had on my life and career. From watching how he worked, to seeing how he accepted students from all over the world, without charging a penny to study under him. Truly something amazing to witness and to strive for [sic ].”
Camm has had many one man shows and received many awards for his art, of recent distinction the San Antonio Artist League Museum’s Artist of the Year of 2014.  Camm reflects, “Being under 40 and having now two museum shows under my belt that I have shown at, it has braced me to reach out with my work more out into galleries throughout world and hold my work with better appreciation.” 
Even though Camm tends to paint directly from life, the conceptual potential for his subject matter is never limited.  “As a general rule, I work exclusively from life. Lately, I have been feeling the urge to embrace more of a religious tone in my work.  That said, I do at times feel a freedom in portraying what is in front of me yet pushing a theme and story into the work... It is a little bit, well, when working from life and you have something very good in front of you, adding elements to the work and pushing it into more of a narrative.  This can either make a painting average, great, or you can ruin it.  I’m working on my batting average, so to speak.”  With every painting he does, Camm “tries to surpass his previous work and to continually raise the bar.”
When a client commissions Camm for a portrait, in his own words, “They can usually expect an enjoyable conversation that naturally ebbs and flows from one spectrum to another, a glass of wine if desired, and a painting they are thrilled with.”  When they commission a house portrait or a still life, they can expect me to pour my entire self into the project, filling it with nuance and mystery.”
In a compassionate manner, Camm has chronicled the homeless and collected their stories, time and time again through his unflinching and raw portrayal in paint strokes.  “I started to document the homeless originally because as a beginning artist at the age of 18, I was constantly in search of people to sit for paintings. So I did a few paintings of homeless people in the park.  As time grew, and conversations intensified, I realized that many of these stories I was hearing were so foreign from my middle class single parent family. Then one day it hit me, I had to get a tape recorder and record these stories, to act as a bridge in a way, for all walks of life to be able to hear and understand these stories of the Homeless.”
 Documenting humanity that has been dispossessed has affected his artistic growth to embrace a transcendent humanist vision.  “Many of the stories and themes I run across within the homeless community I start to accept as part of a tragedy, a tragedy that I wish to tell in as many ways as possible from film to theater, seeing as the themes that affect the homeless run into all walks of society. Eventually I hope my work can be a catalyst in transitioning the stories into universal themes of hope, redemption, and all sorts of emotions that make life so great.”  This has coalesced into The Homeless Project, also known as 7 Years Forgotten, which is currently a collaboration between himself and writer Danielle Gomes, who transcribes the stories to accompany the portraits, that are on display and available for purchase online. Camm has exhibited his series at the Noyes Museum in New Jersey and Trinity University, San Antonio, TX.  There was an ambition for the Homeless Project to become a nonprofit at one point, but Camm since decided to not pursue the status, stating, “In part, I am becoming a bit hesitant in forming a non-profit in that it would take my focus away from the main thrust of my homeless project and storytelling, as one friend put it, ‘You would always be chasing the dollar.’”  In my work I wish to make it about the people, not spending a large portion of my time trying to raise funds to work on the project so, it’s back to a shoe string budget and working on it when I am able to.”
In hopes of going beyond the confines of the canvas, Camm’s ambition is to present the stories to wider audiences, “As this project continues, I have hopes to turn this into a TV Series documenting the homeless through painting and retelling parts of their life with actors and scenes set up. This aspect of the project still needs funding. I’d also like to work with the live theater, to create events at which we can collect donations and go out on cold nights to give warmth and food to the homeless.”
Possible ways that volunteers can reach out and assist in the Homeless Project, “So from the stand point of help, I would love any and all help from writers, to people that would want to listen to the stories and rewrite the story, editing it, to people volunteering as actors, to locations to use. To individuals wishing to go out and feed the homeless. I am still very far away from being able to accomplish some of these dreams but hoping to God that as I keep these dreams alive for 9 years, that they will have their time to be born.”
Having witnessed humanity at its most despairing, Camm unwaveringly upholds a hopeful and empathic perspective on the human condition, “It has never made me in the least bit pessimistic. I guess it has made me more amazed to see just how we have been able to survive when faced with adversity.”

Originally appeared in Plumage-TX online:
Seth Camm’s artist website
Learn more about the Homeless Project

Thursday, December 3, 2015

"Women Who Dare" Reflections from an Artist’s Perspective

“Women Who Dare”
Reflections from an Artist’s Perspective
Curated by Anel I. Flores and Sarah Castillo.

Women Who Dare was an all women artists exhibition that was curated by Anel Flores of Artery Studios and Sarah Castillo of Ladybase Gallery and held at the Carver Cultural Community Center in near downtown San Antonio and ran from November 5 – November 27, 2015.   The core theme of the exhibit was to present the works of “San Antonio women artists who stimulate, provoke, and capture her viewers; allowing space for the movement and speed of the competing world to fall away.”  The outcome of a theme of such a transcendent nature facilitated a contemplative flowering of many distinct artistic languages with interpretations ranging from self-portraits, dissection of mystical feminine archetypes to conceptual mixed pieces that explored topics such as heritage, race, fears and self-discovery.  In disclosure, I was one of the participating artists curated into the exhibition, and my contribution was a painting created specifically for the curatorial premise.  Upon observing and processing the exhibition as a whole, I felt it was integral to highlight how these distinctive artworks correlate to one another in a gender specific exhibition.       
One of first pieces that immediately captured my attention was Audrya Flores’ Hand Talker, created from various fabrics, yarn, pins, and prickly pear cactus.  According to her artist statement, anxiety has been a struggle that insidiously “manifests itself in my hands through fist clenching, fidgeting or sweating.”  Hand Talker essentially is a visual metaphor that unveils this internal battle by depicting a figure made of cut out fabric, curled up in sheets, with white menacing hands advancing towards her.  In the metal wrought frame, appendages made from dried cactus hang, visceral metaphors of the destructive nature of anxiety coming forth within the subconscious dream state.
Leticia R-Z’s Psychopomp Altar I, is a three dimensional work which presents two anima figures constructed of wool felt with animal skulls for heads posed and mounted on circular fabric covered frames.  Psychpomps, whose origins are from Greek mythology, are entities that act as intermediaries to guide souls to the other side or through states of transmutation. In reference to the Roman Catholic tradition of milagritos, R-Z has placed a receptacle to accept offerings from supplicants that are in need of the psychpomp’s assistance, as evidenced by the presence of a lock of hair that has already been placed within. 
In my submission, I also scrutinize death and transition through my oil and egg tempera painting titled La Mystica.  In this old masters’ mixed emulsion technique painting, I present a portrait of a woman that is half alive and the other half is being consumed by many vibrantly hued fungi and other natural elements of decay, in order to confront the viewer with the constant transitory state that existence always resides in.  The subject’s stimulus stems from momento mori, the Latin phrase meaning, “remember you will die,” which has fueled a whole thematic branch of art, notably the vanitas, still lifes that are made to depict the earthly realm’s most impermanent nature.          
Take One. Just Begin by Stephanie Torres is an interactive work, fabricated of handmade little journals with colorful paint spattered covers that each represent the artist’s “…own willingness to take a risk,” placed upon a table with crayons and other drawing tools.  The artist simply asks the participant to take the miniature journal and start something, in any form or fashion; a cheering taunt to start a journey that one has been reluctant to venture forth on, due to fear, or in her case a “paralysis of perfectionism” brought on by anything that is creative.  
Maria Luisa Carvajal de Vasconcellos embraced “the story telling power of the paintbrush” to heal from a crippling nine year depression that was the result from grief of losing her husband when she was thirty-nine.  Within her paintings are the stories of many women in all the many stages and phases of their lives, with a soft and voluptuous stylization.  In Tequila, one can only fathom what the lady seated is pondering, seated alone at a table, with a half empty bottle, surrounded by melancholy blue.   
Linda Arrendondo has created a quadriptych entitled the Medusa series that are female portraits that are painted with fluorescent colors complete with writhing sinuous snakes for hair.  She describes her medium of choice, watercolor: “feminine, loose, delicate, light…It’s not a material that is controlled or dominated but one where some of its best parts are fueled by serendipity and compromise.”  It seems those traits are the exact ones the Medusa women are channeling, sensuous, softness and a hint of unpredictability. The portraits are arranged in a square format, creating a striking visual affect, due to the bold colors, and solidarity of contrast.  They gaze out, fierce and enigmatic, challenging the viewers.
Viewers had the opportunity to be educated about an uncomfortable episode of racial tensions from Texas history brought to light from the archives in Claudia Zapata’s installation project, Dedicated to Hazel Scott about the African American pianist who cancelled her 1948 performance at the University of Texas due to segregation of the audience members.  Hazel Scott’s legacy is reexamined, through videos of her performing playing on screens installed above the gallery space, poster media and informational ‘zine’ style pamphlets.  
Questions about racial and cultural supremacy are also scrutinized in Raquel Zawrotny’s Melanin in Gold a quadriptych done in acrylic ands mixed media that was initially inspired by the controversy the Miss Japan contestant winner generated because of her mixed racial heritage.  The theme of Melanin seeks to “question society’s views of women, particularly Black women…”  Zawrotny’s second goal was to present Black women and their cultural heritage in an engaging light.  In each of the portraits she adorns her subjects with exquisite costumes and colorful embellishments with vibrant colors on a field of gold leaf in order to illuminate their dignity and humanity. 
 Ashley Mireles has created a series of portraiture …..And To All Those Who Died, Scrubbed Floors, Wept, And Fought For Us, which is a series of mixed media portraits that have been produced on handmade paper derived from organic materials that come from the artist’s immediate surroundings, such as “Texas soil, debris, and fallen pecan trees.”  The subjects are rendered in amber hued stylized lines on a Plexiglas that has been mounted over a mauve textural paper.  Depicted are “significant figures” that Mireles has manifested from stories told by those close to her.  Through these portraits she seeks to enshrine their tales of perseverance and contributions to her life and others.            
Some of the artists chose the method of portraiture to facilitate the theme’s interpretation as a method of self-reflection.  Adriana M. Garcia has painted her self as a way of relating with the world around her. Her use of transparent oil glazes and geometric elements work in tandem to facilitate a sense of a transcendent space within her canvas, her gaze looks off toward the side off the panel, in a contemplative perception, with a resonant calm that is further accentuated with her choice of showing a desert horizon background, with white intersecting lines that are etheric indication of connection. 
Kristel A. Puente’s Disambiguation of the Introverted Megalomaniac is a photograph of the artist herself, imbued with decorative elements that reflect her own contemporary style and at once channeling the infamous Mexican artist, Frida Kahlo. The photograph is framed in artificial roses that reference the flowers that are adorning her hair, in homage to Kahlo’s iconic style.  Instead of native Mexican folk dress, the artist is dressed in a contemporary T-shirt, and is brandishing tattoos and the ‘bird’, confrontationally gazing out at the viewer, channeling the defiant spirit of the celebrated artist, uncompromising and comfortable in her own skin. 
Amanda Bartlett’s sculpture piece Untitled consists of two pieces, one being a spiky metallic armature shell that resembles a stylized anatomical heart.  A feminine touch is evident within the inner lining, as it appears to be encased in lacey and soft material protected by the metal armature, an undeniably an intricate testament to the strength, vulnerability and resilience of emotion.           
Overall, the effect of the exhibition produced an intimate and confessional atmosphere, a self-portrait of each of the artist’s inner psyches, and an establishment of trust to unveil those innermost thoughts and emotions.  The Feminine is redefined in many multifaceted expressions, manifesting through each artists’ own unique hands, as individual as a fingerprint. 

Women Who Dare was on exhibition at the Carver Cultural Community Center
November 5 – November 27, 2015

©Kat Shevchenko, 2015 
 Article origiinally appears in: Plumage-TX Arts Magazine

For More Information about the Exhibition and to Keep up with Ladybase :

Flores, Anel, and Sarah Castillo. "Women Who Dare." Ladybase Gallery. N.p., n.d. Web.