Pastels, Oils, & Drawings © Kristin Pluhacek


Kristin Pluhacek | 克莉斯汀·普鲁哈切克

Kristin Pluhacek lives and works in Omaha, Nebraska, U.S.A. Her drawings and paintings have been shown extensively in Midwestern U.S. fine arts galleries and museums, and in numerous public and private collections. A participant in several public art projects, she has led many project workshops, among these Lauritzen Garden’s Lewis and Clark Interpretive Icon, and “Reach for Your Dreams”, a collaborative presentation for the 2008 U.S. Olympic Swimming Trials. She is also a book illustrator, her work appearing in the volume Send Me Tulips from Prisma Press. Recently, she designed the stage set for Raskol, a drama produced at the 2012 Great Plains Theatre Conference Playfest. Kristin received her BFA from Creighton Univ., and is a roster artist for the Nebraska Arts Council Artists in Schools/Communities program. She currently teaches drawing at Omaha’s Metropolitan Community College and the Joslyn Art Museum. Her work is displayed at Anderson O’Brien Gallery and Dundee Gallery, both in Omaha, at MLB Designs in Kansas City, Missouri, and at


美国艺术家克莉斯汀·普鲁哈切克在内布拉斯加州奥马哈生活和工作。她的粉彩画、素描、油画等作品在美国中西部多座美术馆和艺术中心频繁展出,并为众多机构和私人收藏。克莉斯汀热心公共艺术项目,曾主持、参与多间艺术工作坊,包括劳里岑花园的路易斯与克拉克诠释雕像、2008年美国奥林匹克游泳选拔赛“逐梦”主题展等。书籍插图作品有《送我郁金香》(Prisma出版社)。2012年为Great Plains大剧院戏剧节舞台剧《Raskol》设计舞台布景。

克莉斯汀为克瑞顿大学艺术学士、内布拉斯加艺术理事会「学校及社区项目」艺术家。现在奥马哈都会社区学院和乔斯林美术馆教授绘画,展出作品见奥马哈Anderson O’Brien艺术馆Dundee艺术馆和堪萨斯城MLB Designs艺术馆。个人网站

Artist’s Statement

I don’t invent; I observe. I look for a strong subject, something that maintains its presence while inviting elaboration and whimsy. Most of these objects are already evident in daily life, their simple, ordinary forms one day exuding a certain grandeur, an unexpected monumentality. Through the interpretation that is my work, I wish to experience and share that energy.

Drawing’s directness seems most effective for this action, especially pastels, with their thick layering potential and pure color. I prefer bold forms, with distinct mass, as if carved from negative space. Yet it’s also important that they be light enough to imply potential movement. Hence I often introduce gesture as an overlay above solid shape, defining the form and releasing it from the rest of the composition. Line is always present and purposeful.

In practice, I become more aware of the complex design underlying animate and inanimate objects, singularly and in their interactions with the wider world. I am particularly interested in how objects and space encroach upon each other. I freely distort forms for the sake of unity, giving bulk to the space between objects, where both contact and containment occur, while I also distill the subject to an essential form or series of forms.

In ribbons, I find an almost architectural quality, how a shift in one aspect may alter the entire structure. An array of ribbons might seem anarchic, but their simple organic motion is soothing, and their infinite relationships yield pleasure. When I work with ribbons, I often think of specific words and phrases–sometimes for their meaning, sometimes their sound or connotation. By limiting choice, these verbal touchstones help tame the chaos, while hinting at connections or latent mobility.

On the other hand, the aggressiveness of floral spirals can constitute an act of defiance, exploding from their centers, expanding until they overwhelm, refusing to be curbed.






从蝴蝶结里,我似乎找到了一种原生的质量,一个细微的变化就可能影响整个结构。当蝴蝶结叠加在一起,或许显得毫无规律,但它们单纯、有机的运动让人感到欣慰,它们之间无穷尽的关系令人愉悦。 我画蝴蝶结时,总能联想到某个具体的词句——有时是因为其含义,有时是因为其音响或所指。筛选之后,这些词语的试金石教会我如何驯服混乱,向我透露它潜在的关联和动态。



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