Ronald Katz
Born in the Union of South Africa of immigrant parents from Germany; emigrated at 10 to New York, attending public schools, then Queens College majoring in mathematics with minor in art. Additional art studies at various schools including printmaking at Parsons. Member of Gallery 84 with numerous solo and group exhibitions, as well as many juried shows. currently works on paper represented by THE OLD PRINT SHOP.
Given your extensive background in mathematics, could you elaborate on how abstract mathematical concepts, like topology or fractal geometry, have influenced your approach to creating abstract art? Can you provide an example of a piece where mathematical abstraction directly contributed to the artistic outcome?
While having earned a degree in mathematics, I cannot discern any explicit influence of mathematics in my work as a visual artist, though, having a background in the various sciences such as physics, chemistry, geology and paleontology, etc., there are occasional references of that in certain works, including watercolors of mineral specimens and images of endangered species, human evolution, etc.
Studying under John Ferren, who was known for his work with color, how has this influenced your psychological and emotive use of color in paintings? Could you discuss how you employ color to communicate complex emotional states or intellectual concepts?
I studied color theory and practice with John Ferren, and no doubt learned much to apply in painting, though I seem to have my own subjective and instinctive sensibility regarding color. I should also mention Barse Miller, from whom I learned much about watercolor technique, and in all honesty, learned something from every instructor I have encountered.
Can you discuss the philosophical or existential questions that you explore through your art? How do these considerations shape the thematic decisions you make in both your figurative and abstract works?
My approach varies with regard to the particular work; for example, in the relative straight forward painting of a landscape, I look for the location and lighting that seems best for the local involved; doing a still life, I first envision what it is that I wish to paint, then proceed to arrange a still life to desired defect, and try to observe and visually report what is before me; at times I will do a more complex arrangement by juxtaposing different elements with a more elaborate compositional scheme. However, in creating my more complex works, there is usually a theme, or set of themes which I may work out in preliminary drawings, and then proceed to develop the themes compositionally, often with numerous revisions. The same procedure holds for purely abstract works and for representational works; often there is an interplay between abstraction and representation, and always toward a resolution both visually satisfying as well as significant in meaning.
As you transition into digital printmaking, how do you balance the traditional authenticity of manually created art with the modern efficiency and possibilities offered by digital techniques? What challenges and opportunities does this present in maintaining the 'soul' of the artwork?
When I ventured recently toward producing digital prints, working with an expert digital technician, my hope and goal was to produce work enhancing and modifying my work in traditional mediums in order to realize imagery that I could not do otherwise, yet would be totally consistent with all my other work.
You have a varied portfolio ranging from landscapes to complex still lifes. In constructing the narratives of your still lifes, how do you choose objects that complement or contrast with each other in ways that evoke deeper stories or histories?
In my complex works, as well as generally, I cannot say easily how I arrive at a particular visual statement, other than simply feeling impelled and or inspired by something, or some sound in classical music, or some object, person or animal or visual effect, and then sort of travel with imagination throughout the process of drawing, painting or printmaking in order to achieve the most desired result possible at that time.
Having roots in South Africa and Germany, and training in New York, how have global art movements from these culturally diverse backgrounds influenced your artistic style and preferences? Can you pinpoint specific elements in your work that directly reflect these influences?
Perhaps the memories of landscapes in south Africa witnessed as a child, then later in new York, and the different natural setting here, along with my frequent exposure to the art world of museums and galleries, and also my intense response to classical, romantic and modern music all contributed to my being the artist that I am, along with, of course, the classes I attended in painting, etc.
Considering your focus on nature and the environment, how does your work contribute to conversations about conservation or environmentalism? Do you see your art as an activist tool, and if so, how do you measure its impact?
Regarding environmental issues do include in my work reference to extinct and endangered species, often though not exclusively, in conjunction with other themes.
In today’s rapidly changing social and political landscape, what do you perceive as the ethical responsibilities of a modern artist? How do you address these responsibilities through your art?
Though constantly staying as informed as possible about the political, social and cultural aspects of our times, I prefer to avoid becoming subject to trends, “flavors of the day”, in the art world, and in my work focus on what is most meaningful for my creativity and visual sensibility.
How do you reconcile and represent your diverse cultural heritage—South African, German, and American—in your art? Does this multiplicity of identities present challenges or opportunities in your work, particularly when dealing with themes of belonging and identity?
I have no doubt that my diverse cultural heritage would somehow reflect in my work as an artist, which is in itself diverse.
Looking forward, how do you anticipate the evolving landscape of art mediums and techniques will influence your future projects? Are there specific emerging technologies or innovative artistic methods you are eager to explore?
There is so much more to do with the mediums I already employ, that I see no need to veer toward other technologies which may emerge. For example the impetus and medium such as painting by hand, used by the cave painters of thousands of years ago still has relevance today. Our mind and spirit that should guides us now as it did then, whatever medium we choose.