Kathleen Caprario traded the concrete canyons of New York City for the broad skies of the Pacific Northwest where she established herself as a visual artist, art educator, and writer. Caprario exhibits widely and is the recipient of an Oregon Arts Commission Individual Artist Fellowship and the Jordan Schnitzer Black Lives Matter Artist Award.
Her journey as an artist is rooted in traditional painting. Since then, Caprario expanded her practice by incorporating aerosol paints, stencils, hand-ripped paper, and collage elements. Along the way, her work evolved from framed, discrete pieces to dynamic, wall-occupying forms that included irregular shapes to engage both the wall and the surrounding negative space.
“I wanted my work to physically and actively engage with the wall space,” says Caprario. “It was about creating a sense of relocation, both for myself and the viewer, as we navigate cultural and environmental contexts.”
The mid-2010s marked a significant shift in Caprario’s work, influenced by the socio-political climate and the Black Lives Matter movement. Reflecting on her position as a white woman in Oregon, her art began to interrogate themes of race, privilege, and place. This introspection culminated in her organization of an exhibition at Eugene Contemporary Art in 2021, titled “A Critical Conversation,” featuring visual artists, poets, and community thinkers from diverse backgrounds.
Following this period of cultural introspection, Caprario’s work took another turn, this time towards the environment. Drawing from her early experiences growing up in New Jersey and her extensive travels, she began to focus on organic, pattern-
based aesthetics. “I started seeing the environment as fractal and pattern-based, and I embraced that as part of my practice,” she recalls.
The unexpected loss of her husband led Caprario to another significant pivot: writing. Through therapy, comedy writing classes, and stand-up routines, she found a way to process her grief, explore narrative, and share her experience of the world beyond visual art. “I had to laugh at my situation—at grief and death—to heal,” says Caprario. “This new narrative form allowed me to tell stories that were not just comedic but also deeply personal and reflective.” Since beginning to write as a part of her work, Caprario has been honored with the following recognitions: Pushcart Prize Nominee submitted by the Timberline Review, Lady Filmmakers Festival, Short Script Winner, Kay Snow Literary Award in Fiction Runner Up and FilmLab Comedy Cohort with Showrunner Daphne Pollon.
Caprario is currently exploring the intersection of visual and written arts. When Caprario moved to Oregon in 1977, the high desert, with its rugged and expansive quality, left a lasting impression on her. “The environment here fills me with wonder. It’s a real, raw connection that I find both in nature, and certain parts of New York City,” says Caprario.
While at Pine Meadow, She aims to connect with the vibrant arts community in Sisters, Oregon, particularly those involved in fabric arts and printmaking. “I want to learn from and build relationships with these incredible artists, and realize patterns that are built into fabric structures,” says Caprario.
Caprario will be at Pine Meadow Ranch for a month-long artist residency from early August to Early September. Mark your calendars for her Open Studio on August 29th 4-6 PM where she will be joined by Ren Allathkani, and Christina Martin.
