KATHERINE RICHMOND

Looking other worldly, my work references the colors and shapes. The intoxicating bold colors and dynamic shapes, create excitement that moves beyond the original form and photography. 

These photographs give viewers an opportunity through their own sense of wonder and imagination to enjoy it how ever they choose. Colors and shapes that soothe our soul are inherently different from one individual to another, and when we connect with them, we are deeply moved. Both enchanting and haunting, my work engages the viewer with the flow of mystery. 

With the development of many technologies, I wanted to mention that I do not use AI to create these images.

"It's not what you look at that matters, it's what you see."                                                                                                                     -Henry David Thoreau 

This series although varies in colors, share a familiar landscape composition. For eight years I explored a creative expression where there are similarities with the work despite being strikingly different from each other, and to bring a sense of mystery to the viewer.

Connecting to colors and shapes while using our sense of wonder takes us on a journey where our imaginations are free to interpret what ever we feel.

With the development of many technologies, I wanted to mention that I do not use AI to create these images.

These photographs are not a cohesive series, they are individual images that stand on their own. Shape and form take on a new meaning from the original object. I instinctively see these new origional perspectives with my flow of vision. 

With the development of many technologies, I wanted to mention that I do not use AI to create these images.

Polyptychs is a series of work that I have been developing since 2014. These Triptychs and diptychs are what I have assembled so far.

My intention is to take the viewer to a place of mystery and wonder. These photographs take on new meaning and pushing the boundaries of photography creating landscapes of bold colors for viewers to immerse themselves and surrender to the wonderment.

Each polyptych is a collection of individual photos that worked well together. Several of them work well in multiple directions allowing the viewer to have an entirely different experience.

With the development of many technologies, I wanted to mention that I do not use AI to create these images.

This series has won two awards on Global competition platforms. First with the Tokyo International Foto Awards in 2017 Fine Art Abstract Honorable Mention and The Black and White Spider Awards in 2018, Still Life Series Nominated.

The purpose of my photographic series Sublime is to remove these occurrences from their immediate context and imagine them anew. This way we’re forced to wonder if we’re seeing them as they were lived and experienced, or if we’re creating something entirely new just by bearing witness. Hazy impenetrable rumors and soulful whispers hidden within its beauty, only to be discovered stirring the unknown in each of us.

With the development of many technologies, I wanted to mention that I do not use AI to create these images.

The Ice series is my fascination with shapes and tonalities with frozen rivers. My intention is to express the ice in a perspective that takes on a new vision of what it could be verses what it is.

Mostly photographed in the winding rivers of northern New England where I can get access to the perspectives I’m looking for.

A mixed collection of earlier work from 1979 - 1983. All are black and white film photographs with 35mm and Medium format images.

Entranced by the geography and diverse community of Cape Ann, Katherine moved to Gloucester full time in 1983, and has been on a journey of discovery ever since.

The granite quarries on Cape Ann were active from the 1830’s until the early 20th century, and remain as testaments to a bygone era. Many artifacts from the granite industry remain, and there is abundance of nature around the quarries, which draws many people to the area. Katherine has been photographing them for over a decade, exploring the dance of light between the exposed granite and the clear deep water.

She finds the quarries to be both enchanting and haunting, engaging the viewer in the past and the present simultaneously. Perhaps each of us creates something entirely new by experiencing the quarries as Katherine presents them to us through her lens, stirring a sense of the unknown and the unknowable, with mysteries as deep as the water itself.

In the Northeast the colors and shapes of the granite are varying and beautiful. At times looking abstract in nature. I became fascinated by these rocks and became lost in their unique expressions and beauty.

Katherine has been photographing quarries for over a decade, engaging the viewer in the past and the present simultaneously. The intention behind the swimmer series is the relationships people have with each other in the unique quarry environment. The expression of energy created in the water vs on land, whether alone, as a couple, or in groups has so many variables. Everyone is doing something, playful teens, couples in love, curious children, children and their parents, and lap swimmers.

During the spring in the early 1980s, Katherine with years of snorkeling and scuba diving experience took her love of water and photography into the ocean, and into the northern Vermont rivers with Nikon’s Nikonos underwater film camera. She photographed the environment with a documentary, and an abstract approach.

Katherine’s pursuit of these quarry swimmer images came about in 2022 when she was working with free-lance photographer and former Boston Globe reporter, David Arnold of Boston and Gloucester, and the Cape Ann Museum. The special group exhibition titled “QuarryArt” exploring the majesty of Cape Ann’s many quarries was held at the Janet & William Ellery James Center in Gloucester Massachusetts in the summer of 2023. Her photograph “Swimmers I ” and three other photographs from her series Northeast Quarries were also in the exhibition.

Exploring a new subject matter is a universe in itself, and there is an incredible amount to learn, technically and physically. When photographing underwater in the quarry during the last few days of warm water in September, Katherine witnessed various moments people had with each other and quickly realized there were many possibilities to capture in that unique environment. The season closed in that year and she would have to wait until the following summer for the warm water to return to the quarries.

The swimmer photographs were taken between two to eight feet underwater. Katherine had a mask and flippers, and held her breath at times up to thirty-seconds. On some days she would swim for hours from one end of the quarry to the other and back, depending where people were swimming. Each of the photographs are taken candidly with anonymity. None of the individuals photographed were models, and the majority she did not know prior to shooting.

When possible, Katherine connected with the majority of the people she photographed and shared images and prints. Some of the prints became surprise birthday presents, and others were keepsakes of a special time in their lives. For an artist it was a joyful rewarding experience to connect and share images of the people she photographed.

Connexion is a visual study of the nude figure in the water in relationship with water reflection from the surrounding nature, and the water distortion.

My intention with photographing Mountains is to capture the fleeting light which graces them. These moments happen sometimes before, during or after a weather system has occurred. I also enjoy capturing the details of a mountain, the tree line, and rock formations. Also an occasional encounter with wildlife that lives with in it.

Landscapes showing various conditions and settings.

These are portraits of people and sentinel beings I have photographed over the years. This is not a cohesive series, merely a varied collection at different times and places.

The first of a growing series of light at various times of the night coming into an old summer home.

This summer house is from the early 1900’s, and has changed little. We segue into the lack of light switches, the old ‘54 refrigerator, bead board walls and ceilings. Old doors that needed a nudge from our foot to open. Dressers with sticky drawers, decorated with hand painted flowers by my grandmother. A rose bush planted in the yard by my great grandmother continues to thrive. I have witnessed four generations worth of memories created. Watching my children grow up and loving it as I do. We all have cherished every moment spend there, sharing it with family and friends. What has changed over the years is the many generations, not the house. And each night the light continues to fall into the rooms.

Various details on subjects that I come across in my travels. This gallery will grow in time.