FP: When did you start painting children? Was there an evolution?

KM: I didn’t begin painting adolescence until about twelve years ago. Before then and starting in graduate school I painted a lot of men. Looking back I think I was trying to understand myself as a female artist. There weren’t as many exhibiting women artists or professors as there are today. Somehow by painting the male figure I felt I could better understand the opposite sex and present myself as someone who was strong and tough.  Truly the complete opposite of what I’ve ever been.

FP: Do you have siblings and how have your own children influenced your work?

KM: I have two older sisters. We moved abroad to Switzerland when I was 5 years old for my father’s work. As a family it made us extremely dependent on each other. To this day we remain very connected. Children influenced my work when my daughter turned 13. I found myself repeatedly painting these images of unformed, narrow bodies with oversized heads. Truthfully I didn’t realize I was portraying the adolescent figure until other artists and friends brought it to my attention.

FP: The organic medium of watercolor is so fitting for your ethereal style and for the delicacy of both children and flowers. Have you always used watercolors? And are there drawings first or just paint to paper?

KM: When I was in graduate school and for sometime after I only worked in oils. I was searching to create a more aggressive, painterly effect. I was also influenced by the figurative expressionism of Julian Schnabel, George Baselitz, and David Salle. It wasn’t until our house burned down in a Malibu fire and I lost my studio that I primarily concentrated on using watercolors. By coincidence it was also during a time when I was ready to explore other art materials.

With the transparency, immediacy and unforgiving qualities of watercolor it continually forces me to dig deeper into my subjects. I use a wet and wet technique that is impossible to control so I’m continually starting over. By trying to keep the work fluid, there’s no way to prepare for the resulting image. The work is lost or gained within minutes. Needless to say it’s a very, costly pursuit. I go though reams of paper before I get anything that I might partially like.  Everything goes into the trash. Oils are much easier to manipulate and much more forgiving, but unfortunately watercolor creates he effect I wish to achieve.

FP: Who are your influences? I see elements of Schiele’s erotic drawings…

KM: I have so many influences but primarily I am fascinated by Giacometti’s sculptures and paintings. I am in awe of his invented vocabulary. He’s s a master of the human condition. With minimum detail he’s able to express so much besides the fact they’re just beautiful objects.

FP: On that same note, there is definitely an element of the erotic in your paintings. I am somehow reminded of the film ‘Angela’ by Rebecca Miller (Arthur Miller’s daughter) in which the children are portrayed beautifully and accurately as both sexual and troubled beings. Has there ever been any controversy with your work?

KM: It’s true that because my figures are unclothed one can assume I’m after an element of eroticism.   However that’s never been my intent. The figures are unclothed only because I want to reveal what’s underneath, the faded surface of the figure.   

FP: You are married to restaurateur Michael McCarty. At Michael’s in Santa Monica and NY there is quite an extensive art collection. It is obvious that you both have been surrounded for much of your lives by noted artists from the collection on the walls and the frequent exhibits that the restaurants host. Can you speak a bit about being an art collector as well as an artist and how that might inspire your work?

KM: It’s been fantastic. When we opened the restaurant 32 years ago we wanted art, food and decor to all be part of the dining experience. We’ve been able to acquire work mostly from food or art trade. In the late 80’s I started curating the art salon upstairs of Michael’s to showcase my fellow UCLA MFA grads. I’ve continued putting on about four shows a year by artists working in all genres. It’s wonderful to spend time with each artist’s work and the artists themselves. Artwork can slowly reveals itself when the viewer has the luxury of time to spend with it.

To see more of Kim’s work visit http://www.kimmccarty.net/