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Kath Kornelsen Rutherford works in both areas of printmaking and mosaics. Her artworks are intimate and thoughtful. She fashions delicate explorations which are meaningful to her into compositions which are sometimes playful, sometimes reflective, always gentle. As a printmaker, she demonstrates a disciplined approach to her art and an ever challenging demand on her development as an artist. As a mosaic artist, she is able to use her exceptional drawing skills, along with her patience and creativity of blending a variety of materials, into strong and beautful works.
“I honestly stumbled into mosaic work in 2007 when the local school was being replaced and wanted a colourful, meaningful entry floor for the new building. A little research and I dove right in - along with 200 students aged between 8 and 10 years. How hard can it be, right? Turns out it's a super durable medium for indoor and outdoor applications, with thousands of gorgreous materials to choose from - and you'll use them all !! Cutting and assembling glass tile shapes on mesh is a time consuming but meditative process that really lends itself to large work ... and so, aside from some small 'gold' themed pieces, I've been focused on large scale projects. I have created quite a few school floors, an institutional pizza oven, masonary heaters, kitchen and bathroom backsplashes and the very large mosaic mural that graces the front of the Sackville, New Brunswick Town Hall.”
“When I was introduced to mezzotint in 1982, I bonded with the technique immediately...I loved everything about it, including the huge time commitment. The rich soft dark tones characteristic of the mezzotint, are achieved by repeatedly 'rocking' a curved serrated blade on polished copper plate. Few artists today have the time to rock a plate for the days it takes to cover the plate completely in one direction, and then again at right angles to the first and so on until at least twelve different directions have been rocked. The rocked plate will print a solid black, which is then scraped with a knife to create a range of tones. The finished plate is then inked, wiped and rolled through a press with dampened paper, then, in most cases dilute acrylic paint is added to the finished print. Drawing directly on the plate with only sketches to guide me, I hope to share a quiet wit & playfulness. Most of my works are small...most subjects could be held in a hand. My images are carefully constructed and precisely detailed compositions inspired by interpretations of proverbs, folklore and sayings.”
Born in Montreal, she studied printmaking at Mount Allison University for three years (Fine Art 1974, 1976 and 1977) with David Silverberg before moving to Halifax to study with Ed Porter at the Nova Scotia College of Art and Design in the early 1980’s.
She has exhibited in solo and group exhibitions throughout Central and Eastern Canada in both private and public galleries. She has, on two occasions been awarded the Elizabeth Greenshields Foundation Award. Her works are included in collections such as the Nova Scotia Art Bank, Canada Council Art Bank, Grenfell College in Newfoundland, Atlantic Trust Co., The Hudson’s Bay Co., and Husky Oil Operations.