The New Vanguard III: Interview with Kathy Ager for ‘Fool’s Gold’

Thinkspace is proud to present new work by Kathy Ager for her latest exhibition ‘Fool’s Gold’ as a part of ‘The New Vanguard III’ showing at The Lancaster Museum of Art.

Ager is known for her surreal still-lifes inspired by the 17th-Century Golden Age of Dutch and Spanish painting. Her compositions are comprised of historical visual rhetoric to deliver intensely personal and emotively charged themes. 

In anticipation of her first museum exhibition, our interview with Kathy Ager discusses her love of light and color, finding inspiration in heartbreak, and how switching between big and small pieces helps artistic pursuits move forward.

SH: How long have you been showing your work in galleries and various exhibitions? Do you remember the first time you showed your work to the public? What was the exhibition?

KA: I’ve been showing since 2017. I remember my first exhibition was a sort of DIY situation in Lisbon, Portugal. I’d spent quite a bit of time there and met some amazing artists and friends. My friend Isac decided he wanted to make something happen instead of waiting for a gallery to approach us. It was a great show! I showed alongside some amazing Portuguese artists like Wasted Rita, Kruella D’Enfer and Maria Imaginário.

SH: When painting, what are you listening to in the background?

KA: Depending on my mood, I’m either listening to podcasts or music. I find if I’m in a lonely mood, which is pretty often when sitting in a studio alone all day everyday, listening to podcasts really helps. I really love dark, funny shit like Last Podcast On The Left. If you haven’t listened, start with Episode 331: The Donner Party or Episode 161: Hollow Moon. I’m also super interested in other people’s lives (I’m so nosey) and love hearing personal stories. The podcast Heavyweight gives me a good dose of that, plus some good laughs and some satisfying digging up of the past. Episode #2 Gregor is a good place to start, where they attempt to ask Moby to give Gregor’s damn CDs back.

SH: What was the inspiration behind the body of work that you will be showing for New Vanguard III?

KA: For this body of work, I continued to delve into my own personal experiences and observations and seek ways to express them through objects and light. A lot of my inspiration comes from my more painful experiences and outlook on life, but I try to make something beautiful out of that darkness. I was particularly inspired by the alienation I felt last year when caught up with someone who valued the pursuit of the party life over building something solid and real. That’s where the title “Fool’s Gold” came from. It’s painful to feel like you’re not enough, but to those who are after more fucked up pursuits and easy highs – the fool’s gold – you will never be valued the way you deserve. I find so much inspiration in that heartbreak.

SH: When viewing other artists’ work, what elements get you excited or inspire you?

KA: I definitely get excited by the use of light and color in other artists’ work. I’m always analyzing how the subject matter was lit and what the set up must have been. When I was living in Amsterdam and Barcelona, I got to see first hand how the difference in natural light (cold versus warm) coming through a window can make a difference in the vibe of the original baroque masters. I also love combinations of realism and graphic elements. It creates a playfulness that can be both dark and light and I love that kind of vibe.

SH: Does having an exhibition at a museum feel different than showing work at a gallery?

KA: It definitely feels different. There are so many different lanes in which to show work. From the DIY experience of my first show in Lisbon, to showing with Thinkspace, and now in a museum, they all feel different in a good way. It adds another dimension to the experience of showing and viewing my work.

SH: Every person experiences that moment, when they are in the middle or even at the start of something, where it feels overwhelming or isn’t going as planned – how do you personally push through those difficult moments? 

KA: I feel like I experience that on a weekly or even daily basis! I feel overwhelmed quite often, or feel like I’ve lost my painting ability (a fear that seems to hit me when I start every painting). I get through it by just moving forward and painting. I might move on to a different part of my painting if I’m having trouble with a certain spot. Or if I’m working on a very large canvas and feel like I’ll never finish, I might switch to a small painting for a few days just to remind myself that I’m capable of finishing something. I also find it super helpful to chat with artist friends who can pump me up and reassure me that I’m doing fine! It’s all a mental game, so learning what works for you to keep moving forward is key. 

SH: If you could show your work beside any artist, in the entire history of art, who would you want to share wall space with?

KA: It would be insane to show alongside one of the Dutch masters like Adriaen Coorte, Frans Snyders, or Ambrosius Bosschaert, who inspire a lot of my work. Although their skills are lightyears ahead of mine and I’d be mortified! Haha. I’d also love to do a show together again with Wasted Rita where we can express our inner pain and angst in such different ways. That would be fucking amazing.

SH: What piece challenged you most in this body of work and why?

KA: I think “Look Both Ways Before You Crossed My Mind” was the most challenging. I’d been sitting on this idea for quite some time and it took a while to solve it visually. I’m always looking at how to express a specific feeling clearly enough without getting too literal. Then I came across this coyote who had been hit by a car and it was the perfect symbol for what I was trying to visualize. From there, things were easier to solve. It was also a very large canvas so it was tricky to work within my relatively small working space!

SH: Do you have any pre-studio rituals that get the creative juices flowing?

KA: Definitely tea and some good music every time! My mom is from England so I’m a die-hard tea drinker. Nothing starts before a good cup of tea. I also love to dance so I’ll usually start with a couple solid tracks that get me going. Something like “Last Kiss” by Overdoz or “Summertime Magic” by Childish Gambino. The combination of tea and dancing also explains the number of tea spills occurring throughout the days.

SH: We declare The New Vanguard III is a milestone in your artistic journey, what are three other milestones that mark your path and life as an artist?

1. My first ever exhibition in 2017 with my friends in Lisbon

2. My first ever solo show, Golden Ager, with Thinkspace in 2019

3. A collab with a (THE) sneaker brand which will remain top secret until later in 2021!!

Curated by Thinkspace Projects

September 12 through December 27, 2020

Lancaster Museum of Art and History
665 W. Lancaster Blvd.
Lancaster, California 93534

Featuring Solo Exhibitions From:
ALEX GARANT “Deconstructing Identities”
KATHY AGER “Fool’s Gold”

Kathy Ager Interviewed in Beautiful Bizarre

Artist Kathy Ager, whose exhibition “Golden Age” is currently on view at Thinkspace Projects, was recently interviewed by Beautiful Bizarre about her latest body of work. Visit Beautiful Bizarre for the full interview.

“I love how much of a story can be told by the combination of objects. I also find peace in the strong stillness of still lives. I like to include objects and brands that are familiar to the viewer, but that have a secret significance to me personally. ” – Kathy Ager in Beautiful Bizarre

Interview with Kathy Ager for “Golden Age” opening June 29th

Thinkspace is pleased to present Vancouver-based artist Kathy Ager’s debut solo exhibition Golden Age. Ager creates detailed, still lifes that feel simultaneously Baroque and acerbically modern. Inspired by the 17th-Century Golden Age of Dutch and Spanish painting, her imagery uses historical visual rhetoric to deliver intensely personal and emotively charged themes. A professional graphic designer-turned painter, this is Ager’s first complete body of work to date and will include ten new paintings.

In anticipation of Golden Age our interview with Kathy Ager discusses her artistic background, creative process, and desired love interest in a movie about her life.

SH: For those that are not familiar with you and your work, can you give us a brief look at your artistic background and zodiac sign? 

KA: I haven’t been at it for long – I’m a late bloomer for sure! I’m originally a graphic designer from Vancouver BC, focussing mainly on corporate branding. I still like working as a designer but there came a point where I felt I had more to say and was frustrated by the limits of graphic design. I’d been living in Amsterdam for a few years and found myself feeling sick and lonely and far from home. That’s when I picked up painting for the first time since design school. I’d always been drawn to painting and creating in general, but this was the first time I started finding my own voice. I’d work on paintings in my spare time between freelance design work, making only a couple of paintings a year. Things really started rolling when I dropped myself into Lisbon for a couple of months, just to see how it would feel. It was the first time I’d showed up in a new place as an artist, not a graphic designer. I met some amazing artists who became the first champions of my work. I’m not sure if I’d have had the strength to keep going with it if it wasn’t for that experience. Life in Amsterdam had become a lonely struggle for me and painting became my life raft. Sometimes I felt it was all I had, but it felt powerful and super satisfying being able to evoke something in others through the images I’d create, inspired by my loneliness, heartache, music, books, and my endless curiosity for love and life and truth.

Did I mention I’m a Sagittarius? Apparently, we’re forever seeking adventure and the truth. Honesty above all else! In my paintings, I lay it all out there, just like I do with those who know me. I’m not comfortable unless I can truly talk about how I feel. I want people to be in on my life and I want to be in on theirs. There’ve been stretches in my life where I’ve felt like an astronaut floating in space, so far out there but not sure how to get back, and maybe this vulnerability and honesty is how I anchor myself in this universe and connect to others. My paintings have become a powerful way to do that.

SH: How do you approach starting a new body of work? What inspired this exhibition?

KA: This is the first coherent body of work I’ve produced. In the last couple of years, I’ve established a visual language and a few key elements that felt good to me. While working on these latest paintings I was able to keep that language consistent while drawing in elements from my own life and those from traditional still life paintings. I’m always amazed by how objects can be used to express such human emotions. I’ve been inspired directly by my personal life – especially love and heartbreak and the loneliness in between – and the need to grasp onto something solid in this transient world.

SH: Is there a particular piece in this exhibition you feel really challenged you? If so, why and what makes you proud of this piece.

KA: Definitely, the most challenging piece for me was ‘An Immovable Feast’. It’s the largest piece in the exhibition and also the last piece I completed. All of my paintings are deeply personal, so working on each painting means facing those feelings for as long as it takes to complete that painting. The size of this one felt like three paintings in one and felt like the final painting addressing some lingering heartache that inspired quite a lot of my current work. I didn’t feel up to the task. I’m amazed that I was able to push through a lot of self-doubt and shifts in my personal life and still create something I’m proud of. I definitely needed some encouragement from friends who stopped me from setting it on fire or throwing it out the window. LOL!

SH: What excites you about your work / creative process?

KA: I get such a kick out of what I do. I feel so deeply and to be able to translate that into something visually powerful has been transformative. It’s like solving a problem. If the solution makes me laugh out loud while also strumming just the right chord in me, I know I got it right. 

SH: What frustrates you about your work / the creative process?

KA: It’s solitary work. I need to hear myself think and that happens best when I’m alone, doing nothing. Which is hard since my inspiration comes from the opposite – it comes from going deep with people and life. And the production phase is especially a solitary endeavor, sitting for hours, days, weeks in the studio. It’s not glamorous. It’s been the biggest challenge for me for sure. My need for connection is strong, so I’ve been learning how to ensure I’m getting what I need while maintaining my creative process. Returning to Vancouver after living in Europe for 9 years has been a huge help.

SH: If you could make the album art for any album, existing or yet to be released, what album or artists would it be for and why? 

KA: A Drake album! Damn, it would be a dream. I love how he goes so deep and dark and is so open with his insecurities and his search to understand the actions of himself and others. When Scorpion came out, it was a hot summer in Amsterdam. There you’re so far north, the daylight lingers until almost midnight. I’d sit in my apartment in the heat, in that deep blue light of the night, and listen to this album. Oof. What a time. I’d love to create something for that depth and darkness and glory. 

SH: If your body of work inspired an ice cream flavor, what would it be called and what are the ingredients?

KA: I love the idea of something like ‘Peaches N Cream’. Like my work, it takes things that are seemingly innocent, but the implication of their combination can be twisted into something much more provocative. 

SH: A Netflix movie is being made about your life, who would be cast to play you and what kind of movie would it be? Try to describe it with similar movies. 

KA:  I’d be lying if I said this scenario hadn’t crossed my mind before. First off, I’m not great at following celebrity actors, so I’d love a new, break through actor to play me (although Ryan Gosling would definitely be welcome to play a love interest). In terms of what kind of movie it would be, I’d say the running themes and significant moments in my life have been the search for love and adventure, the beautifully lonely self-discovery of travel, days and nights with friends and lovers that made me nostalgic for the moments while I was still in them. And underlying it all, a deep feeling of loss and fear and sadness that makes it all so scary and painful. And yet I’m forever drawn by my curiosity to go for it all, just to know how it feels. Imagine a combination of Eternal Sunshine of the Spotless Mind, Vicky Cristina Barcelona, Before Sunrise, Skate Kitchen, Lost in Translation. Midnight skates in the heat of Barcelona, the sparkle of beaches on the Costa Brava, the wide open spaces of Northern California. It would be a fucking trip for sure.

SH: What do you think the role of artists is in society? How does other artwork inform how you move through life?

KA: I think the artist’s role is to be evocative. I get so much inspiration and power from music and books and I think that’s true for all art forms. Making something physical out of feelings and ideas and putting them back out into the world creates the beauty, both light and dark, in the world. 

SH: Favorite way to celebrate the completion of a project/body of work? 

KA: Since this is the first body of work I’ve completed, it was quite emotional. I’m still learning to let myself loose after so much focus and dedication and have been lucky to have some great friends around for support and guidance (and some damn good laughs and adventures 😉

Join us for the opening reception of Kathy Ager’s Golden Age, Saturday, June 29th from 6 – 9 pm.