Kate Klingbeil: Painting the Recovery of the Feminine

Kate Klingbeil: Painting the Recovery of the Feminine
Leading lights  -   Artists
Kate Klingbeil "Summer Wind," 2019. Approx. 16 x 20 inches. Photographed as installed at the Monya Rowe Gallery, NYC.

I first saw Kate Klingbeil’s work at the Gallery in 2018. As Klingbeil’s total body work represents the most important inquiry that can happen in the world. cultural production of art today: the exaltation of the feminine, as a nuanced archetypal image, as well as a set of values.

The Mother Archetype: The Great Goddess of All Time

The primary experience of each individual has the mother, as rooted in the biological inevitability of pregnancy and birth, is an impersonal, inborn patterning, reaching back through our collective history as a species. The influence of the mother as progenitor, nurturer and taker of life, is so vast, that the category, which can be psychologically described as “feminine,” is synonymous in the unconscious with the values ​​of earth as natural environment, connection to body, relationship and community, plus mysteries of religion and mysticism.

This cursive description of the feminine, the mother archetype, should already indicate the patriarchies great ignorance, which accounts of the prevalent conflicts between the value of nature versus trade, living versus working, inclusivity versus individualism, the desires of the body versus the constraints of cultural restriction and mental commitment, and, finally, the wild, perverse, vital and unrestrained dormant in a psyche that favors a “scientific,” “rational” and “practical” approach.

Inborn is the essential and primordial cluster of potent emotional and experiential patterns surrounding the womb, birth and mothering with the image of the woman as great mother. The “mother,” in this way, becomes the fundamental aspect of the feminine-a human experience of everything earthly, as well as the source of all potential creativity and vitality.

Socio-Political Ramifications

This psychological fact has great importance in modern political and cultural movements, because of the presence of women in this society. The bread of this cultural disregard has personalistic consequences which are “passed down” through our mothers, inflicted on our sister. These causes an internal suffering of the soul and body, which, however, resulting in neurosis, or not, is present in all of us to some degree or another.

A general suffering of the populace, in which mystery is gone, “rationality” prevails, “individuals” stand for themselves and their competition for their lot, leads to political and cultural problems. A speculative description of “general disfunction” becomes observable through the individual personalities and their behavior patterns. It is through the activity of daily life that our collective future is determined; it is in our attitudes and behaviors that the regeneration, restoration, reclamation of the feminine occurs; it is through such processes that reformation of the collective occurs.

Inside the studio of Kate Klingbeil

Paintings of Kate Klingbeil

Kate Klingbeil portrays her personal process of feminine recovery, which should be a more conscious activity for all of us – assuming we want to contribute to societal progress and heal our own souls. Klingbeil’s vocation as an artist places the products of her imaginative unconscious in the public domain, as material for our communal conversation. Additionally, her personal style and painting abilities are an additional layer of enjoyability.

Male Gaze

Contrary to a common criticism, I’d suggest that Klingbeil’s work is not inherently related to “male gauze”. Rather this gas is brought to the work from without. The contents emerge from her psyche. The work would then stand out of a male-centric worldview. The emphasis on a denigrating and adolescent male attitude would have been identified as a contrasexual aggressor antagonism – masculine attitude in the artist’s unconscious – before hearing about an audience member’s reaction.

If a viewer is present and reacts with fearful contempt or has arousal, it has been noted that it has been noted that it is important to understand it.

Following the Diary

Klingbeil’s paintings, since her archive has begun, and in the most recent exhibition at Monya Rowe Gallery, render wonderful landscapes of rolling bosoms and pagan figurines exalting in their nakedness. There are showers, waterfalls, beds of flowers, sometimes animals, fairies, demons, and so forth. Consistently painting with intoxicated frivolity, Klingbeil has consistently found emotionally rich and imaginative nuances of this same theme.

The dream in this diary of the unconscious carries out a circumambulation around the archetype mother, in the hopes of healing and revitalization. This “mother archetype,” is a set of imagery, is the way to the feminine self, and expresses itself in poetic mystery.

In Kingbeil’s archive we find this unconscious process in objective form For instance: the initial work of many heterosexual intercourse, and narcissism of masturbation and bathing in flower beds.

In the psychology of archetypes, we know that narcissism is always the first stage – an entry point to the mystery.

The work in the following years contains images of washing, which are variously scaled figures, which is presented as an abstracted fountain that offers a wave elixir. Large bodies seem to hold, like a mother goddess, smaller bodies; reminiscent orgies of the pagan religions of Europe offers the renewal of springtime.

New Developments

The original narcissism has an eternal party takes place; a celebration which is a source of healing. Recent paintings have been made with the help of the life-giving material of the mother, and sometimes with the water.

Increasingly, references to animals and vegetation also become core symbols. Again, the images, which contain symbolic potencies, slurry around the mother. It appears to me that the artist is searching for a positive mother experience; to be nurtured, to be revived back to life, into life, and into self.

Conclusion

The art is a self-employed, self-employed, self-motivated, self-motivated, self-motivated, self-motivated, self-motivated, self-motivated, self-motivated, and self-reliant musician.

I do not know what they are, but they do not know what they are, and they can – intellectually, imaginatively, socially and through psychedelics – to truly know what it means to understand the feminine, and for their world of inclusion, love and true health.