Catherine Eaton Skinner: 108
Skinner’s work has a depth of layers that matches her need to allow a work to be beautiful, as well as spiritual.
— Art Reveal Magazine
Best known for her encaustic paintings incorporating natural imagery, Catherine Eaton Skinner’s Gya Gye (Tibetan for 108) and related series represent dramatic experimentation in form, process, and viewer engagement.
Informed by extensive travels in Bhutan, India, Japan, and elsewhere—along with her corresponding research into languages and philosophical systems—she expanded her mediums to include rope, fabric, glass, stones, and found objects which she modified in unpredictable ways. Although some of the series, such as the Elements paintings, retain recognizable imagery, her recent series bring 108 into the twenty-first century.
From QR code patterns to the simple, interminable zeroes and ones of binary language, Skinner discerns pictorial aptitude in contemporary digital codes. Other series explore ancient tally marks—both eastern and western—and the abstracting impact of systematically repeating simplified mountains or tight details of eyes, among other universal motifs.
Skinner’s work has a depth of layers that matches her need to allow a work to be beautiful, as well as spiritual.
— Art Reveal Magazine
Best known for her encaustic paintings incorporating natural imagery, Catherine Eaton Skinner’s Gya Gye (Tibetan for 108) and related series represent dramatic experimentation in form, process, and viewer engagement.
Informed by extensive travels in Bhutan, India, Japan, and elsewhere—along with her corresponding research into languages and philosophical systems—she expanded her mediums to include rope, fabric, glass, stones, and found objects which she modified in unpredictable ways. Although some of the series, such as the Elements paintings, retain recognizable imagery, her recent series bring 108 into the twenty-first century.
From QR code patterns to the simple, interminable zeroes and ones of binary language, Skinner discerns pictorial aptitude in contemporary digital codes. Other series explore ancient tally marks—both eastern and western—and the abstracting impact of systematically repeating simplified mountains or tight details of eyes, among other universal motifs.
Skinner’s work has a depth of layers that matches her need to allow a work to be beautiful, as well as spiritual.
— Art Reveal Magazine
Best known for her encaustic paintings incorporating natural imagery, Catherine Eaton Skinner’s Gya Gye (Tibetan for 108) and related series represent dramatic experimentation in form, process, and viewer engagement.
Informed by extensive travels in Bhutan, India, Japan, and elsewhere—along with her corresponding research into languages and philosophical systems—she expanded her mediums to include rope, fabric, glass, stones, and found objects which she modified in unpredictable ways. Although some of the series, such as the Elements paintings, retain recognizable imagery, her recent series bring 108 into the twenty-first century.
From QR code patterns to the simple, interminable zeroes and ones of binary language, Skinner discerns pictorial aptitude in contemporary digital codes. Other series explore ancient tally marks—both eastern and western—and the abstracting impact of systematically repeating simplified mountains or tight details of eyes, among other universal motifs.
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Artwork by Catherine Eaton Skinner
Text by Elizabeth BrownHardcover / 12 X 10 inches
292 pages / 170 illustrations
ISBN: 9781942185109 -
Catherine Eaton Skinner is a multidisciplinary artist embracing encaustic painting, oil painting, photography, printmaking, sculpture, textiles and found objects. Her artwork gives expression to her journeys through many cultures and mankind’s quest to find ways to connect to one another in a chaotic world. Skinner’s work is centered on the balance of opposites, as well as methods of numerical systems and patterning used to construct an order to our world. Thus, much of her art encompasses intriguing repetition and multiplicity. She reflects, "We live in a world where it may be difficult to feel a part of the whole, but we continue trying to find ways to connect to place and to each other."
Skinner’s creative sensibilities stem from growing up in the Pacific Northwest. Her Bachelor of Arts and Science from Stanford University, included painting instruction with Nathan Oliveira and Frank Lobdell. Twenty years in biological illustration began Skinner’s professional career. Between studios in Seattle and Santa Fe, she is an innovative artist with multidisciplinary methods: encaustic, oil painting, photography, glass, printmaking, sculpture, textiles and found objects.