One Crow Sorrow

6 – 31 May 1994

Karen Klee Atlin’s new body of work used the symbol of the hung crow or traditional scare crow to examine the isolation felt by rural women. Further, she examined the link between the migration of birds – flight of birds and language through multiple encaustic paintings of gesturing hands.The works with which I am currently involved are interpretations of experiences that I myself have had or have been told to me by others and are therefore largely narrative in nature. In their roles as storytellers, these installations seek to provide an experience for the viewer which will ultimately include him in the piece in some way. The viewer’s identification with another individual’s experience can be accomplished by presenting an environment which will awaken memories of similar events the viewer may hold in his or her own personal history.To produce these evocative environments, I choose objects or materials from everyday life and use them to conjure up familiar situations. I do not reproduce the setting exactly but rather choose one or two items which can stand for a situation, thereby allowing for a much wider interpretation of the finished work than would be possible with a more faithful rendering of a particular place. While “real” enough, it is the simulated authenticity of these few items which root the entire installation in common western experience and provide the primary point of contact for the viewer.