Kylie Heidenheimer

BIOGRAPHY

Kylie Heidenheimer was born in North Florida and grew up in St. Louis. She currently lives and works in New York City. Heidenheimer has had solo and two-person shows at Galerie Gris in Hudson (2019, 2015 & 2013) and in New York City at J.C.Flowers & Co. (2012), Thomas Jaeckel Gallery (2009) and Columbia University’s Italian Academy (2007). An expanded version of the Columbia University exhibition took place at Ohio Northern University’s Elzay and Stambaugh Galleries in 2008. Heidenheimer was a recent featured contestant in Jason McCoy Gallery’s Drawing Challenge VIII. She also participated in the 2020 Armory Week installment of Salon Zürcher’s Eleven Women of Spirit Art Fair. The fair was recommended by Will Heinrich in The New York Times. Heidenheimer’s PYRE II was pictured. (Which Art Fair Is for You. NYT, 2/27/2020). New York City venues where Heidenheimer has exhibited in group shows include Waterhouse & Dodd (2020 & 2019), 56 Henry (2019), Casimir Effect (2019), The Abrazo Gallery (2019), Thomas Jaeckel Gallery (2016 & 2014), Feature, Inc (2010), Station Independent Projects (2017) and Kianga Ellis Projects (2012). National group exhibitions in which Heidenheimer participated took place at Indiana University’s J. Irwin Miller Architecture Program Gallery (2020), The Hyde Collection (2019), UT Knoxville’s Downtown Gallery (2019), The Sheldon, St. Louis (1999) and Raritan Valley Community College, Long Branch, NJ (1998) (New York Times review). Heidenheimer has attended Yaddo, Blue Mountain Center, VCCA The Anderson Center and The Millay Colony. She has an MFA from Hunter College and BFA from Washington University.

STATEMENT

Tension is primal to my work. Atmospheres and densities align and separate. Reverberations and rifts result. There is in areas, air-tight compression between figure and ground. Figure in other  places, airily hovers above the ground. I layer elements as well as draw and “carve” deep.  Compositions shift and ratchet. 

Incised paint lines accrete. They become collapsed structures. The latter are space-wresting and  space-twisting tools. They merge the infinite and haptic. Imagery suggests architecture,  landscape or cosmology. Narratives both expand and taper. 

I find affinity with modernist figurative work such as Burchfield and Hartley as well as contemporary abstract painting. A long-abiding influence is Jo Baer’s 1983 Art Forum article “I  Am No Longer an Abstract Artist”. Her post-minimalist call to work with painting’s and paint’s  inherent visual, illusive and physical components is specifically applicable.

ROOM 313

https://kylieheidenheimer.com/