Friday, June 16, 2017

Summer group show

LVL3 presents Fantastic Facade, a three-person group show featuring Katie Bell, Hannah Carr and Jenn Smith. Bell scavenges detritus and castoffs in search of new materials to build and influence her sculptural paintings. Carr explores how physical objects can be transformed to reference a digital age. Smith’s paintings offer commentary on evangelical Christian beliefs with a light-hearted and sometimes sly humor. Fantastic Facade looks at the ways we create windows of exploration that uncover the past and ground our thinking.
Opening reception
Saturday 29 July 2017

Tuesday, June 6, 2017

Garmentory Feature

With so much talent out there, it is truly exciting when you discover an artist whose work makes your jaw drop and your mind race. Well, that was our exact reaction when we came across the two artists featured below: Katie Bell and Andrea Bergart. With each a distinct aesthetic of their own, these artists are creating captivating art that goes way beyond your typical understanding of art. Their manipulation of everyday materials and objects is straight up beautiful. One of these talented women can takes garbage scraps and turns them into a 9 ft tall sculptural painting and the other transforms working cement trucks into moving public murals. So, without further ado, let your artist crushes begin.

The moment we caught sight of Katie Bell’s large-scale paintings we couldn’t look away. Her art goes above and beyond, outwards and upwards, literally. Katie creates her pieces with found materials that she herself went digging for. From ceiling tiles to hot tub fragments, she turns so-called garbage into unreal art. Her color composition, structural thought and innate attention to placement detail will blow your mind. Not to mention, this bad-ass woman can haul bounds of material and somehow get them all on a wall.

My name is Katie Bell and I am originally from Rockford, Illinois. I have been living and working in Brooklyn, NY for the past six years. I make large sculptural paintings out of found material.

I have a twin brother who is also an artist, and I think growing up we fostered that creative interest in each other.  We were always making drawings, games, costumes, piƱatas, plays, forts, obstacle courses, etc.  We were collaborators on all kinds of things and our parents were always encouraging us to make things. I began making paintings in college and started making still-lives to paint from.  The still-lives eventually grew larger and larger and turned into the work I am making now. I have always come to art from an interest in painting.

 I am constantly looking for materials and try to find one thing everyday to bring back to the studio. I am mostly finding things on the street, in dumpsters, and at construction sites. My studio acts as a catch-all for all my finds. Things will be rolling around the studio a while before I figure out what to do with them.

The hunt is different every time, but it is always a very physical task. As my work has grown I have gotten more specific, so I am looking for particular things now. My favorite part of gathering materials is the looking. I have so many places that I go to regularly to find materials, but one of the best spots is Bartos Pools and Spas. I have made friends with the owner and she saves old hot tubs for me to cut apart.

Weirdest: A three-foot tall rawhide bone. Best: A faux blue geode bookend.

Group Show in Baltimore

Opening Reception: Saturday, June 10 7-10pm
Show open: June 10 - July 1, 2017

Whether temporary, permanent or in this context imagined, humankind has been making structures as long as we’ve existed. These structures mark time, history and memories, sometimes functional and others monumental.

The artists in Deconstructed all employ their individual aesthetic in making their own “structures”. Borrowing likeness from household items, architecture, formalism, symbols, and found materials, these artists deconstruct preconceived elements of structure to create distinct visual languages. At times combining the familiar with the unfamiliar and juxtaposing abstraction with representation while deconstructing defined uses of material, scale and imagery. 

Degges alters quick snapshots of his labored paintings by zooming in and blurring them, he then prints them on canvas. Distancing the photographs and himself from the original paintings he deconstructs his own process to create fresh imagery.

Delosh combines hieroglyphs, symbols, and her own studio sketches to create an imagined structure that provokes the viewer to contemplate both the importance and humor of a monument.

Jensen boldly tops a wooden Dutch stool with a hand made ceramic “dunce cap” evoking caution and humor but also drawing into question the function of a stool to that of a pedestal. 

Commemorating fragments of material that each found surprisingly beautiful and poetic, Bell and Hein surround found wood and linoleum with odd shaped structures of foam and Plexiglas.

Evoking household items and architecture, Baron and Salas eliminate color to highlight minimalist structures. A mailbox, a birdhouse, a doorway; these familiar objects are deconstructed and re-imagined as abstract forms calling into question the relationship of the body to the work.

While Mikhailovskaia’s work also uses a monochrome palette, her work deconstructs preexisting notions of scale by shrinking somewhat formalist sculptures to coffee table size pieces, calling to mind the all white works of predecessor Cy Twombly but with a more playful tone. 

King explores, mixes and deconstructs the intellectual structures of the mind, using imagery from the depths of the subconscious and combining them to create abstract visual landscapes of the mind.

Tuesday, April 4, 2017

Monday, January 2, 2017

Set Design for Frankie + Clo

Designer: Christina Albrecht
Photographer: Joshua Woods
Art Directors: Ania et Lucie
Model: Fernanda Beuker (Elite Model)
Artist / Set Designer: Katie Bell
Stylist: Anna Santangelo
Hair Stylist: Kiri Yoshiki
Makeup Artist: Katie Mellinger

Special thanks to Joop Schouten (Elite Model).

- January 2017 -

Monday, November 21, 2016

Recent Project at Penn State

New Volume 2 Artists to Artists put out by the Sharpe-Walentas Studio Program


Friday, November 4, 2016

Locust Projects in Miami is hosting an exhibition titled “Backsplash II” by Katie Bell that will be on view through January 21, 2017.
The exhibition presents an installation by Brooklyn-based artist Katie Bell, which serves as a visual and conceptual sequel to her previous exhibition with the gallery, “Backsplash”. Approaching the reactivation with the domestic language of remodelling, the artist refurbished the front project space, laying new flooring, rearranging the deconstructed furniture and adding new focal elements to the wall. The sculptural language is populated with artefacts of home design and commercial interiors, which becomes painterly gestures that is equivalent to brushstrokes and paint spatters across three-dimensional space. “Backsplash II” brings the materials of its prequel back into direct conversation- transplanting the back room materials into the front, foregrounding the cause and effect of the sculptural presentation.
The exhibition is on view at Locust Projects, Miami Design District, 3852 North Miami Avenue, Miami, FL 33127, USA.
For details, visit:

Friday, October 28, 2016





Launch F18 is delighted to present "Helter Skelter," the gallery’s third chapter of exhibitions at its Tribeca location, curated by Sam Trioli and Christin Graham. This group exhibition includes the work of Katie Bell, Joel Blank, Katherine Bradford, Caroline Wells Chandler, Jack Pierson and Adam Stennett | Opening on Saturday, November 12th, 2016 from 6-8 PM at 373 Broadway (6th floor), New York, NY. For more information please visit

Friday, September 23, 2016

September 23, 2016

Saturday, September 10, 2016

Final Installment of Locust Projects x NPR WLRN

We lost connection towards the it ends rather abruptly.

Saturday, September 3, 2016

Opening Sept. 10th in Miami

Article Image

Opening Reception: Antonia Wright / Katie Bell
Antonia Wright: Under the water was sand, then rocks, miles of rocks, then fire
Katie Bell: Backsplash
Saturday, September 10
Conversation with the artists: 6:30-7:30pm
Opening reception: 7:30-9:30pm
Wright’s installation will shift from “night” to “day” at 9pm during the opening reception. The shift will then occur at 5:30pm each day for the duration of the exhibition.
Exhibitions on view through October 8, 2016

Locust Projects is proud to present Under the water was sand, then rocks, miles of rocks, then fire by Miami artist Antonia Wright. For the first time, Wright presents a new film work within an ambitious large-scale site-specific installation that has been specially designed to engage the senses and provoke a heightened emotional state in the viewer.
For the duration of the exhibition, day will become night in Locust Projects’ central space, so that Wright can enclose the viewer within a maze of flowering Night Blooming Jasmine plants. Upon entering through a curtain, the viewer will be immersed in darkness. They will detect the scent of jasmine flowers, and experience a specially composed soundscape by experimental jazz musician and composer Jason Ajemian. The viewer negotiates their way through the maze of plants, which are suspended from the ceiling in boxes, and moves towards the light emitted by the film projected at the center of the room. Reenacting an event from her youth, Wright – dressed in a flame-colored suit – crosses a frozen lake, eventually falling through the ice into the water. Through the duality of light and dark, the exertion of control over elements from the natural world, and the reenactment of an incident from her life, Wright considers the fragile border that separates life and death.
As the regular day draws to an end, a timer will activate the lighting, deactivate the video projections, and transition the space into a sculptural light installation. As the room becomes light, the Night Blooming Jasmine flowers will close. Visitors will be able to watch this short choreographed transition at 5:30pm each day.
The title of the exhibition is drawn from Dave Eggers’ novel You Shall Know Our Velocity! (2002):
At that moment I was sure. That I belonged in my skin. That my organs were mine and my eyes were mine and my ears which could only hear the silence of this night and my faint breathing, were mine, and I loved them and what they could do. There was so much water in so many places, rushing everywhere, up and down, the water on top moving so much faster than the water below it. Under the water was sand, then rocks, miles of rocks, then fire. 
Under the water was sand, then rocks, miles of rocks, then fire was made possible with major support from the Funding Arts Network.
Special thanks to Darling Green, Inc., Daniel Joseph, Alex Pearson, Jason Ajemian, Siobhan Morrissey, Lee Pivnik, Ruben and Otis Millares, and the artist’s family.
Antonia Wright (b. 1979) studied at the International Center of Photography, and The New School in New York City where she graduated with an MFA in Poetry. She has exhibited, and been awarded artist residencies, nationally and internationally. Recent solo presentations include Spinello Projects (Miami, FL); Luis de Jesus Gallery (Los Angeles, CA); NSU Art Museum, Ft. Lauderdale; Vizcaya Museum and Gardens (Miami, FL); and Art@Work at the Mosquera Collection, The Museum of Contemporary Art North Miami. International shows include Ping Pong (Basel, Switzerland); Faena Art Center (Buenos Aires, Argentina); The National Gallery of Art (Nassau, Bahamas), and Aeroplastics (Brussels, Belgium). Wright was the first artist-in-residence at the Lotus House Shelter for women and children in Overtown, Miami, in 2012, and was more recently awarded residencies at Pioneer Works (2015) and the Leipzig International Program (2016). Wright’s work has been presented in publications including The New York Times, Artforum’s Critics’ Picks, Art In America, and The Art Newspaper.

Locust Projects is pleased to present Backsplash, two new site-specific works by Brooklyn-based artist Katie Bell.
Bell has mined Miami for the items that form the palette for the works that she has created in Locust Projects’ front and back spaces. She uses common building materials as ingredients to be sawn, cut, thrown, stacked, and coerced together. Utilizing wood, laminate, paint, foam, hot tub fragments, shock absorbers, cork, and rope, the artist has created physical, sculptural paintings.
The exhibition’s title refers to the location itself, as Locust Projects’ walls and floors act as painting “supports”, in that they have collected –and now exhibit – the detritus of Bell’s activity within the space. Large objects that evoke the domestic sphere have been transformed into painterly elements. The artist’s materials become abstracted from their original purpose, and act as ruins and relics.
Bell’s works act as still life paintings that threaten to rupture the viewer's space. They give the impression that the artist’s materials have been through an unusual storm, which has left them strewn about the space in a state of freeze-frame, as if holding their breath until the viewer leaves.
Special thanks to Annika Northland, Avra Jain, Douglas Castro, and Laura Raiffe.
Originally from Rockford, Illinois, Katie Bell (b. 1985) received her BA from Knox College where she studied fine art and race and gender studies. She graduated in 2011 from the Rhode Island School of Design with an MFA in Painting. Bell has shown at venues including the Brooklyn Academy of Music, Knockdown Center (Brooklyn, NY); Nudashank (Baltimore); PLUG Projects (Kansas City); Okay Mountain Gallery (Austin); and the deCordova Sculpture Park and Museum (Lincoln, MA). Her work has received coverage in BOMB Magazine, Art F City, Hyperallergic, and Paper Magazine. In 2011 she was an artist in residence at the Marie Walsh Sharpe Art Foundation’s Space Program. Bell was recently awarded a fellowship in painting by the New York Foundation for the Arts and the Saint-Gaudens Memorial Fellowship. Bell lives and works in Brooklyn. This is her first exhibition in Miami.
Locust Projects is a not for profit exhibition space dedicated to providing contemporary visual artists the freedom to experiment with new ideas without the pressures of gallery sales or limitations of conventional exhibition spaces. Local, national, and international artists are encouraged to create site-specific installations as an extension of their representative work. Locust Projects supports the local community through educational initiatives and programming that are free and open to the public.
Locust Projects exhibitions and programming are made possible with support from: The Alvah H. and Wyline P. Chapman Foundation; The Andy Warhol Foundation for the Visual Arts; Cowles Charitable Trust; FAENA; Funding Arts Network; The State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture; The John S. and James L. Knight Foundation; The Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners; The National Endowment for the Arts Art Works Grant; Locust Projects Exhibitionist and Significant Others Members.
Locust Projects 3852 North Miami Avenue, Miami Fl 33127 / 305.576.8570 / /

Third Installment of me on NPR WLRN from Brooklyn