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Pastels, Oils, & Drawings © Kristin Pluhacek

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

美國畫家克莉絲汀·普魯哈切克在內布拉斯加州奧馬哈生活和工作。她的粉彩畫、素描及油畫創作在美國中西部多座美術館和藝術中心頻繁展出,并為眾多機構和私人收藏。克莉絲汀熱心公共藝術項目,曾主持、參與多間藝術工作坊,包括勞里岑花園的路易斯與克拉克詮釋雕像、2008年美國奧林匹克游泳選拔賽「逐夢」主題展等。書籍插圖作品有《送我鬱金香》(Prisma出版社)。2012年為Great Plains大劇院戲劇節舞台劇《Raskol》設計舞台佈景。

克莉絲汀為克瑞頓大學藝術學士、內布拉斯加藝術理事會「學校及社區項目」藝術家。現在奧馬哈都會社區學院和喬斯林美術館教授繪畫,展出作品見奧馬哈Anderson O’Brien藝術館、Dundee藝術館和堪薩斯城MLB Designs藝術館。個人網站 

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.





從蝴蝶結裡,我似乎找到了一種原生的質量,一個細微的變化就可能影響整個結構。當蝴蝶結疊加在一起,或許顯得毫無規律,但它們單純、有機的運動讓人感到欣慰,它們之間無窮盡的關係令人愉悅。 我畫蝴蝶結時,總能聯想到某個具體的詞句——有時是因為其含義,有時是因為其音響或所指。篩選之後,這些詞語的試金石教會我如何馴服混亂,向我透露它潛在的關聯和動態。