When I was a child and would visit my grandparents, I was always intrigued with the bookshelf behind my grandpa’s chair. The shelves held books such as, The World Encyclopedia; big pictures and words for such a small child. I would go through all of these books, but my favorites were the ones that held the human form in transparent pages. These pages could be lifted to show the skeleton, muscles and the separate organs, all of the layers of the human form. It fascinated me that they broke down the body into layers and that you could simply lift the pages to discover another layer, one that was just as important as the first for the function and completion of the human. I saw this as a greater picture, and this concept of layering has intrigued me throughout my life. I struggled growing up about the notion of what made me and where I belonged. I struggled to accept all the facets of myself. I struggled to understand that events, whether positive or negative, had to be accepted and seen as creating my existence. The layer of living: the construction and destruction of self that is necessary for growth. This is a process that is articulated for me best through the creation of my works. It is a theory that I have continually nurtured and dissected. I am an interdisciplinary artist. As an undergraduate my focus was photography and during my time between undergraduate and graduate school, I became a self-taught sculptor. It was in graduate school that I married the two. I incorporate the sensorial, inviting the viewer to participate in the completion the works. The integration of image, video, sound, sculpture and installation is crucial to my creative practice. I continue to explore, experiment and learn techniques that allow for my artistic growth.
Kristine earned her Master of Fine Arts degree and Women’s Study Certificate from Stony Brook University, NY. She completed her Bachelor of Fine Arts degree, focusing in Photography, from University of Oregon-Eugene, School of Architecture and Allied Arts. She also received a Certificate of Completion from The Paris Fashion Institute in Paris France and an Associates of Science in Fashion Design from Plaza Three Academy in Phoenix Arizona. Art Faculty and Fine Arts Coordinator for Bay College in Escanaba MI. She has been published in the 2nd edition of, Elements of Photography, by artist and author Angela Faris-Belt. Granger was a 2020 Artist-in-Residence at Chateau d’Orquevaux in Orquevaux, France and a recipient of The Denis Diderot Award. Her sculpture, “jouissance” created at the residency is now part of their permanent collection and on permanent display in the Chateau. She is an interdisciplinary artist who investigates memory. She has exhibited both nationally and internationally. “Granger’s artwork invites the viewer to reflect on the indelible recollections that define our own realities.”- Monica Bravo, Assistant Professor in the Department of Art History at the University of Southern California.
awakening, is a video loop. It is a video that can stand alone or in a larger installation.
wires, is a sculpture installation inspired by the memory of the riding in the backseat of the car as a child.
The sound component includes a poem I wrote and morse code for pattern. The image is a found negative of my father and I. He was killed when I was in high school, I didn't have a photograph of the two of us together until I found this negative. The tangible and intangible...
Digitized Super 8 film. Inspired by the writings of Marcel Proust and philosopher Julia Kristeva. Still images of the work have been publish in: The Elements of Photography", 2nd edition. Author, Angela Faris Belt.
Video documentation of "Haunting" installation, 2010.
ontology of the wedding dress. The scene: A personal- size theater. A self-portrait: my wedding dress, myself in the dress and the removal of myself from my wedding dress. The use of rich red curtains represents passion, love, blood, and deception. The lost painting of Leda and the Swan by Leonardo daVinci inspired the theater backdrop. The story of Leda and the swan in classic mythology is such that Zeus appeared to Leda in the form of a swan and seduced her. Trumpeter Swans, some consider the “wedding bird”, are birds that mate for life. I am intrigued by the duality that occurs with the use of the swan -Zeus appearing to Leda as a swan and a common belief that swans mate for life. This duality is of the utmost importance regarding the concept of this piece. The second photograph in the series is what is shown here, there is an image projected onto the skirt of the wedding dress itself. The image: a husband and wife, a projection of a photo negative from my own wedding that has never been printed. The use of the ephemeral in regards to the projection of something that could have existed, did exist, or no longer exists is the question. The gesture, is it fear, a realization of the deception? Or is it the importance of that moment, the moment of who I am and what I am that creates the subject-object obfuscation.
Documentation of participatory performance "Mirror Eyes", 2010.
"MIRROR EYES" by Verónica Peña
with the collaboration of Kathryn Cellerini, Julianne Gadoury, Kristine Granger, Alisha McCurdy, Moira Williams, and Jean Honorio
Public interactive performance
Duration: 50 minutes
SPAIN ART FEST'10
Times Square, NYC