“在我职业生涯的弧线，我已经以不同的方式驾驶它......我试着提醒自己，一件事导致了另一个，不断的工作，是正宗的...我不知道是谁这样说：但我想它常常：“这需要10年的艰苦努力，以一鸣惊人。”
从一开始我们用在化妆带来的朋友，家人，熟人等什么艺术家的生活是真的很喜欢，所以他们往往想知道工作室真的是大规模和光线充足的问题摆工作，而不论该名称是有名的，如果个性是怪异和野生为我们的集体想象总是做出来的人。I feelawkward in the face of these questions because my answers are oftentoo specific, too long, toocomplicated.我觉得别扭在面对这些问题，因为我的答案往往过于具体，太长，太复杂了。Isuppose as a way of hurrying up my exhaustive attempt to saysomething true, I'm frequently interrupted in the middle of myresponse and asked, “But are these artists making any money, howare they paying the bills?” And honestly, I hate thatquestion.我想，作为匆匆走向我详尽试图说一些真实的事情的一种方式，我经常打断我的回应的中间，问道：“但这些艺人赚到钱，他们如何支付账单？”而且说实话，我讨厌这个问题。I hateit because it hijacks real meaning and value and takes the wholedamn subject somewhere elsecompletely.我恨它，因为它劫持真正的意义和价值，并采取整个该死的主题在其他地方完全。I hateit because money doesn't legitimize artists or the art they create,despite what Sotheby's might have youbelieve.我恨它，因为钱不合法化艺术家或他们所创造的艺术，尽管什么苏富比可能让你相信。And yetI do understand why that question is so frequently asked, and Kleaand I often find ourselves discussing its importance and how as faras we can tell, every artist works out the money thing a bitdifferently.可是我不明白，为什么这个问题是如此常见，并KLEA我经常发现自己在讨论它的重要性，以及如何就我们所知道的，每个艺术家的作品了钱的事有点不同。
凯蒂的做法包括公共艺术作品相当数量，这有助于她成为自2007年以来的全职艺术家。在此之前，她是教学艺术的各种能力，作为一个教授，兼职和非利润。I thinkabout Katy a lot when I consider the many ways in which artistsmanage to sustain their art practice while keeping up withfinancialresponsibilities.我想凯蒂了很多，当我考虑到许多方面，其中艺术家设法维持他们的艺术实践，同时保持了财务责任。It'stough to balance— keeping everything afloat while simultaneouslyfending off the outside voices that sometimes seep in, questioningwhether or not your work is real, whether you've sold out, whetheryou're actually nothing more than ahobbyist.这是艰难的平衡，保持原有的一切漂浮，同时抵御外界的声音，有时渗入，质疑你的工作是否是真实的，你是否已经卖完了，不管你实际上只不过是一个业余爱好者。Iappreciated our visit with Katy for many reasons, but I thinkultimately it's her commitment to her identity as an artist thatwas mostcompelling.我很感激我们的拜访与凯蒂的原因有很多，但我认为最终这是她的承诺，她作为一个艺术家，这是最引人注目的身份。Muchlike her art, I think Katy accepts and embraces a sense ofmovement— she seems able to accommodate different stages, workingwithin them to continue on her trajectory, despite the detours, bykeeping longevity and self-validation inmind.就像她的艺术，我觉得凯蒂接受和拥抱的运动感，她似乎能够容纳不同的阶段，在他们合作，继续在她的轨迹，尽管少走弯路，保持长寿和自我验证的初衷。
抵达后在凯蒂的工作室在西雅图我被多少工作，填补了她相当大的空间和方式她的作品运用形状，颜色和尺寸，以素描，绘画和雕塑的界限混淆，无论是从杜拉提出拉尔，纸或铝。Katy'spieces are reminiscent of the natural world influx;凯蒂的作品让人想起在不断变化的自然世界; there is so much movement, such a flurry of form,a real sense of strong currents coming andgoing.有这么大的动静，形如乱舞，强电流来来往往一个真正意义上的。 Katy was easy to talk to, and she had this way ofoften contextualizing her current work, identity, practices, andgoals into the larger picture of her life as an artist— sheremembered and recounted how she had done things years before,spoke of how her interests and processes had transformed orsnowballed, and how particular paths had beenforged.凯蒂是容易沟通，她有这样的情境化往往她目前的工作，认同，实践和目标转化为她的生活中较大的图片作为一个艺术家，她想起和她讲述了如何做前几年的事情，谈到了怎么她的兴趣和工艺已转化或大势所趋，而且尤其是如何的路径已被伪造。Iappreciated how in an everyday, ordinary way she seemed able torecognize and approach her work intotality.我很感激如何在日常的，普通的方式，她似乎能够识别和接近她的工作整体。
你会如何形容你的题材或你的工作内容？
Ohthat's such a hard question to answer without going on andon.哦，这是如此艰难的问题，而不是怎么回事，就回答。 Partly, my work is about materiality, visualformal language and perceptual experience, pure andsimple.天色，我的工作是关于物质性，视觉形式语言和感性经验，纯粹而简单。 On another level, I'm interested in using theforms and forces of nature as metaphors, to express/embodydifferent states of emotion andbeing.在另一个层面上，我有兴趣使用的形式和自然力量的隐喻，表达/体现情感的不同状态和存在。There'san ongoing theme in my work that has to do withtransformation/transmutation, and at a deepest level there issomething about the relationship between the momentary and thepermanent.有一个持续的主题我的工作，有做与改造/嬗变，并在最深的层面有一些关于瞬时和永久的关系。
What mediums do you workwith? 做你的工作有什么媒介？
Iprimarily use acrylic paint and inks on Duralar (a polyesterdrafting film) and paper and tracing paper, acrylic or oil on lasercut aluminum, but over the past twenty years, I've used a reallywide array of craft based materials like pipecleaners, balloons,yarn, sequins…I love colorful, shinymaterials;我主要使用丙烯酸涂料和油墨上Duralar（聚酯起草膜）纸和描图纸，丙烯酸或油的激光切割铝，但在过去的二十年中，我使用了一个非常宽的像pipecleaners工艺基础材料阵列，气球，纱，亮片......我爱多彩的，有光泽的材料;materials that are fluid, and materials thatinteract with light or that are physically light, transparent ortranslucent.与光或相互作用的材料是液体，并且材料是物理上的光，透明的或半透明的。
你的作品展现出的形状和形式是无定形的，但不够熟悉，以唤起数组怀旧哪里这些表格是从哪里来的？Is nostalgia a purposeful aim for yourwork?怀旧是一种有目的的目标对你的工作？
该表格由行和手势起源，从有意识的标记制作和系统的重复流的活动。 I'm interested in gesture and in the expressivelanguage of line.我感兴趣的手势和线的表现力的语言。 For many years, my works were completelyabstract, but around 2001 I made this shift where the marks beganto coalesce into what I call “nameable”things.多年以来，我的作品是完全抽象的，但在2001年左右我做了这个转变，其中的标记开始凝聚成我称之为“可命名”的事情。I'venever been interested in actual pictorial representation but when Istarted to make work that was suggestive of actual things in theworld, it opened up a deeper pool of meaning within the work,something that could be accessed in multiple ways by differentviewers.我从来没有关心实际的图形表示，但是当我开始做的工作，这是暗示在世界上实际的东西，它开辟了意义更深池的工作中，可能以多种方式被不同的观众进行访问的东西。The workis still on the border between abstraction and representation,because it's meant to be suggestive, notliteral.这项工作仍在进行抽象和代表之间的边界，因为它的意思是暗示，没有文字。I wantit to inhabit that space between illusion andallusion.我希望它栖息的错觉和暗示之间的空间。 There are collective associations we have withthe “nameable things” that pop up in my work: water, waterfalls,trees, roots, fire, wind, clouds,light.还有我们的“可命名的东西”，弹出我的工作集体协会：水，瀑布，树木，根，火，风，云，光。I likethe idea of tapping into those somewhat universal associations– theidea of flow, mutability, cycles oflife…我想进军流动，可变性，生命周期的那些有点普遍协会 - 这个想法的想法...
你用的是“怀旧”，因为我真的没有在这个词方面认为我的工作很有趣，但我可以看到这可能是一个切入点，在怀旧是一种感觉，无论是拥有的经验和，涉及到时间的流逝和短命和理想的思想损失。I alsothink maybe nostalgia also has to do with the experience ofsuspension, of a moment trapped intime.我也想，也许怀旧也有做暂停的时刻被困在时间的经验。 I feel as if my work definitely has that sense ofthe suspended moment.我觉得，如果我的工作绝对有暂停的那一刻那感觉。
除了 你的艺术实践，你在任何其他方面的工作为何？
I'vebeen able to be a full time artist since 2007. Before that I wasteaching art in various capacities, as a professor, adjunct, fornon-profits, the wholerange.我已经能够成为自2007年以来的全职艺术家。在此之前，我在教学领域的各种能力，作为一个教授，兼职，为非营利组织，整个范围。
是什么影响了视觉艺术外激励和影响你的做法让工作？
I'mreally interested in language itself, and I often use words as thestarting point for bodies ofwork.我在语言本身很感兴趣，而且我经常使用的话作为起点的工作机构。 I like reading thedictionary.我喜欢阅读的字典。 I'm also interested in ideas about language andnature from other cultures.我也有兴趣在语言和自然来自其他文化的想法。I justwatched this really interesting documentary called “IntangibleAsset Number 82” and it's about a jazz musician who travels toKorea to meet this shaman/mastermusician.我只是看着这真是有趣的纪录片，名为“无形资产号码82”，这是关于一个爵士音乐家谁前往韩国，以满足这个萨满/音乐大师。It wasfascinating, learning about the relationship between music and thedivine in their culture.这是迷人的，了解他们的文化音乐与神之间的关系。It alsorevealed a couple of really beautiful cultural ideas aboutwaterfalls and trees that really resonated with me in that“aha-moment” sort ofway;它也透露了一些关于瀑布和树木很有共鸣。我说：“啊哈，那一刻”的那种感觉真美的文化理念;itilluminated why I'm attracted to them as a subject oricon.它照亮我为什么吸引了他们作为一门学科或图标。
刚刚过去的这个秋天，我开始了很多关于自然界隐藏的模式研究，在科学数学和宇宙学。 I have no idea where it willlead.我不知道它会导致。 I stillfeel like most of my “research” comes directly from making and frommaterials.我还是觉得像极了我的“研究”直接来自制造和材料。
什么是有一个物理空间，使艺术的均值为您的过程，你如何让你的工作空间？
Becausemy work is about the wall and using it as a ground (I started outas a painter who hated canvas and hated the restriction of arectangle format) and it's also about responding to space (I didonly temporary installation based work for a number of years), aphysical studio space has always been super important for me, and Ihave always made it a bigpriority.因为我的工作是关于在墙上，用它作为地面（我开始了作为一个画家，谁恨帆布和讨厌的矩形格式的限制），它也是关于响应空间（我为一些做只是暂时的基础安装工作年），一个物理的工作室空间一直是我非常重要，我一直做了一个很大的优先权。
我在所有尺度的工作，但大多数时候，我的工作真的很大，我得有时有创意，即使我有一个体面的大小的空间。 For a project last fall, I had to pretend that myfloor was a wall, because I was making a piece that was 17 feettall, to be installed on a 23 foot tall wall, and my actual wallsare only 10 1/2 feet tall, so I had to move all the tables out ofmy studio and compose the whole thing on the floor and climb up ona ladder and look down onit.对于一个项目去年秋天，我只好假装我的地板是一堵墙，因为我是在这一块是17英尺高，要在一个23英尺高的墙安装，和我实际的墙壁只有10条1/2英尺身材高大，所以我不得不将所有的表了自己的工作室和撰写地板上的整个事情，爬上一个梯子，往下看就可以了。I'veactually had to do that a few times, come to think ofit!其实我已经不得不这样做了几次，想起来了！ I'm always big on maximizing storage, too, whichcame from years of having smaller studio spaces and workinglarge.我总是大最大化存储，太，这是来自几年有小的工作室空间和工作大。
你怎么定位的艺术世界？
Bynature, I'm a bit of a studio hermit and really a hard worker, sosometimes it's a challenge to engage with the part of the art worldthat is openings, social events, etc. Over the arc of my career,I've navigated it in differentways.从本质上讲，我是一个有点工作室隐士，真的一个勤奋的人，所以有时它是一个挑战，与艺术世界的一部分，这是开口，社交活动等。在我的职业生涯的弧线，我已经以不同的方式驾驶它。In thebeginning, nearly 20 years ago, I was really propelled by the DIYethos and did a lot of collaboration with friends around creatingopportunities to exhibit and gainexposure.一开始，近20年前，我真的被DIY的精神推动和周围创造机会展示并获得曝光做了很多与朋友合作。(Westarted an artist-run gallery in Seattle called SOIL, that's aboutto celebrate its 20th anniversary in 2015.) Then, I began workingwith commercial galleries and began winning public art commissionsand my focus changed somewhat, and it got harder to be as social/collaborative because of being so busy in the studio.（我们开始一个艺术家经营的画廊在西雅图被称为土壤，这就是即将庆祝其成立20周年，2015年。）然后，我开始与商业画廊合作，并开始赢得公共艺术委员会和我的重点有所改变，而且它得到更难被社会因为如此忙碌在工作室/协作。On theother hand, some of my projects have involved being able to hireassistants, and that's allowed for a social aspect and also forsomementorship.在另一方面，我的一些项目涉及能够聘请助手，那就是允许的社会方面，也为一些导师。I'verecently been involved with a group of artist friends who arehelping by sharing professional connections and motivating eachother to keep reaching out and taking on those things that stillseemintimidating.我最近参与了一群艺术家朋友谁是帮助分享专业连接和激励彼此不断深入和承担那些东西，似乎仍然令人生畏。I amvery lucky to have met and worked with some really amazing peopleover the years.我很幸运能遇到，并有一些很了不起的人工作了多年。 I try to remind myself that one thing leads toanother, keep making your work, and beauthentic.我试着提醒自己，一件事导致了另一个，不断的工作，是正品。
梦想与现实之间的磨合让我读懂很多生活的语言，风虽改变了方向，却没有改变我的行程-----
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