Kristin Bauer, born in Minnesota in 1982, is a multimedia artist that lives and works in Arizona.
"Kristin Bauer’s text-oriented work has taken the written word and transcended traditional boundaries. From mural pieces on outdoor surfaces to cubic sculptures to wall-mounted pieces as featured in this exhibition, Bauer’s work and its words are rigid, precise, and structural on the outside. Those intensely-thorough structures, along with her choice in both words and their placement result in complex pieces that bring elements into the mix that include psychology, semiotics, and linguistics. She has received much critical acclaim and has exhibited her work worldwide."
Amy Young 2017
"Following in the footsteps of artists like John Cage, Bauer mines her material “first from here and then from there.” The images she uses, her own photographs of historical films are reproductions of reproductions, removed from their original intent; the text is “found” as well, fragments of poems and speeches, everyday phrases.
"As she has always done, Bauer is playing with duality – in, out; dark, light; left, right; opaque, transparent; static and in motion. With a background in psychology and art therapy as well as fine art, she is interested in the psychology of perception. Her work takes its visual and conceptual cues from a broad spectrum of sources, including Gestalt and Social psychology, propaganda and film history, linguistics, poetry, Zen Buddhism, geometry, and studies of space-time.
...There’s a Pop sensibility to Bauer’s work in its immediately striking and attractive nature: These are works that invite us to look, that present an enticing surface the way ads or billboards do. But once we look, the works become more like texts than like advertising. Bauer isn’t peddling anything, or asking viewers to receive information without questioning it. Instead, she’s inviting us to be active in creating meaning with her."
Deborah Sussman 2017
My work explores perception and semiotics situated within the historical context of war, the constructs of otherness and the Self, and the trafficking of ideologies. I am interested in collapsing linear time and withdrawing the pervasive spirit of humanity’s dance of creation/destruction that has evolved and surfaced in our developing political and philosophical discourse. Drawing from my background as a writer and my education in psychology, my studio practice integrates and examines persuasive and pedestrian text and image content, as well as the origin of film and literary editing practices of 20th century propaganda. I seek to hijack and subvert the communication methods that breed fear and division, frequently appropriating propaganda speech and poster phrases and creating photography of viewed film propaganda as my source material. Methodically, I move through a process of viewing, absorbing, distilling and ultimately abstracting the content in a sort of semiotic alchemy, wherein the content of persuasion is excised and the sensed emotional weight is all that remains.
All of my work incorporates plastics of some sort: synthetic polymer pigments, plexiglass and films are activated for their conceptual properties of transparency, and their relationship to sleek (shiny and sellable) commodification. I frequently employ corporate signage and marketing methods, materials and manufacturing techniques in the creation of my work, in order to bring the content into a familiar realm as an object, and to situate the finished products of artwork in an abstracted dialogue within the field of “Manufactured Consent.”