“I have wrestled with the angel and I am stained with light and I have no shame. Neither do I have guilt.”

-Mary Oliver, Upstream Essays

In Mary Oliver’s essay Of Power and Time, she supposes that reaching for eternity is a requisite of creative work or artistry. You can find the eternal here, hiding in plain sight. Photographs and altars. Photography is the medium of death, alchemy, and time. To photograph is to engage with that which you will lose or with what is already lost. Photographs allow us to span into both directions of eternity, towards the past believing that previous versions of ourselves still exist, into the future, creation as an act of possibility, belief someone in the world ahead will be there to view the image. Inside the photographs, altars. A space made for connecting to the eternal and the sacred. Kate guides us to a spiritual plane, eternity floating as a long-limbed angelic figure in the womb, traversing and conflating time with the sculpting of light. Known for vibrant, saturated, portraiture with a killer sense for form, Kate translates all of her talents into a new era, a more personal era. Hiding in Plain Sight is her artistry reaching for eternity, for her multiplicity of selves, to heal the wounds of the past, to alchemize pain into something beautiful. Childhood memories and traumas are gracefully investigated with soft tones, subtle nods to violence, and sensory moments as brittle as egg shells, as sharp as knives. Bearing witness to the self as a key tenant of healing. Alchemy means you can’t go back; you will be forever changed. Emotionally demanding yet enchanting, this work begs us to heed the altar call and run towards ourselves with the desperation of a young girl chasing her mother driving away…  

-Julie Rae Powers