Artist Talk: Karley Klopfenstein

Carpet Bomb

Karley is our new Artist in Residence and is a graduate of St. Mary's (1997) with a degree in Art and Anthropology. She attempted a Master's degree at Virginia Commonwealth but was asked to leave because, despite her earnest attempt, her work was not enough to satisfy her probationary terms. It was here that she developed a "religious" studio practice while working on her sculptures. After leaving Virginia, Karley made her way to Key West, FL where she became involved in Sculpture Key West, a non-profit organization which brings sculpture into the public sphere. Working with Sculpture Key West, Karley was able to solve her conundrum of a lack of studio space to work in (because it is expensive) and was introduced to the joys of public art. She watched her fellow artists and began to appreciate how public art is transient, only existing in photos after it is finished. Public exhibition allowed for the work to be displayed for free and the work space was free as well. Karley eventually rose to the top of Sculpture Key West. As she did, she was able to start her studio practice again and worked on politically-charged sculptures involving war, craft and carpets.

Macrame M16

Her most recent works are carpet-covered weapons such as bombs, guns and tanks. These are responses to the wars going on in the world and are inspired by Afgani war rugs. She covers dangerous, violent items in carpets made in a variety of methods and the result is a weapon covered with cultural meaning and artistic beauty. The contrast of the fluffy, cuddly yarn of the carpets with the dangerous nature of the weapons is a compelling statement--you want to touch the items but know that they are dangerous. The rug patterns also introduce a contrast between the foreign and the domestic that is mirrored in the item itself--the patterns are foreign but are made domestically just as the bombs are made domestically and are bound for foreign destinations. Karley says that creating her work (more specifically her "Camouflage Tank") is a subversive act because it is a direct response to the production and use of real tanks. Where real, American tanks are made on an assembly line and no one person has the responsibility for the item's use and purpose resting on their shoulders, Karley is solely responsible for her piece. Made entirely (almost) by her hands, she is contributing to its creation but also directs its purpose--not for war but for political comment.

Sketch for Camouflage Tank

I don't know too much about Karley's work as I have not seen it in person and her lecture did not cover everything I would have liked to know. I don't know how she exhibits her studio pieces, for example. My suggestion, if she does not already do this, is that she provide some sort of context or information about the specific patterns she uses. The symbolism, the cultural source, etc. should be included when the pieces are shown. By this means, the viewer will be able to fully comprehend the meaning that Karley imbues in her pieces as she makes them. On top of this, it is interesting! Karley told us that she does a lot of research for her pieces and why not share that research with the viewer? That extra information can create a deeper level of  comprehension in the viewer and would add to the experience of the piece.

After hearing her lecture, I am excited to see more of Karley's work.She told us much about her struggle to finish the tank and I feel invested in her work--I want to see her finish it and to experience the piece for myself because I know all the work and struggle that has gone into it. I can't wait!