Pat Badt
Orefield, Pennsylvania
Orefield, Pennsylvania
Not Yellow
Rose
Water
Scroll Box
Bio: Pat Badt is a painter who has received many awards and prizes, including an NEA grant for painting. She has exhibited in New York, Portugal, Brussels, Philadelphia, and Los Angeles. Her work is in numerous collections, including the American Embassy in Riga, Latvia; Allentown Art Museum; Bryn Mawr College; University of Tennessee, Knoxville; and the Ruth Hughes Collection of Artist Books at Oberlin College. Badt is also Professor Emerita at Cedar Crest College, in Allentown PA. She received her BA from the University of California at Santa Cruz and her MFA from the University of Pennsylvania.
Statement: I work in the two-dimensional forms of painting, drawing, and bookmaking. Creating artwork is an activity that filters experience through sensibility. My work involves finding coded representations of the moments that reconstruct as memory. I am interested in recording and making visual the quiet, overlooked events that make up the daily routine. Within this routine resides the culture of life, and the act of painting is the vehicle by which I can mark and remember.
I paint through a woven matrix of string, which demands that I am always on the surface of the painting. Gesture is restricted, and time is advanced in a kind of geologic accumulation of layers. These layers of paint become a history, just as their historical sources come from specific events; this information may be included as source material on the backs of the paintings or may be reflected in their titles.
Statement: I work in the two-dimensional forms of painting, drawing, and bookmaking. Creating artwork is an activity that filters experience through sensibility. My work involves finding coded representations of the moments that reconstruct as memory. I am interested in recording and making visual the quiet, overlooked events that make up the daily routine. Within this routine resides the culture of life, and the act of painting is the vehicle by which I can mark and remember.
I paint through a woven matrix of string, which demands that I am always on the surface of the painting. Gesture is restricted, and time is advanced in a kind of geologic accumulation of layers. These layers of paint become a history, just as their historical sources come from specific events; this information may be included as source material on the backs of the paintings or may be reflected in their titles.