Kristine Woods’ work is informed by three interlinking experiences – her history in performance, her teaching, and through her work as a Gynecological Teaching Associate. All three contribute in complex and subtle ways to Woods’ works with form, texture, space and the poetics of materiality. Woods’ collaborative history includes projects with Gregg Bordowitz, Susie Brandt, Sharon Hayes and Christopher Whittey. Currently Woods is working alone in the studio primarily on sculptural forms supported by drawing, reading, weaving and writing. The concerns of the current work are rudimentary—standing, containing, struggling—and are fundamentally reliant on the properties of materials: their physical characteristics and their vernacular. Woods received her BA from the University of Wisconsin, Madison and her MFA from the School of the Art Institute of Chicago. She lives and works in Brooklyn and teaches at The Maryland Institute College of Art.
Kristine Woods’ studio occupies the parlour floor of a building designated as part of a landmark historic district. Using the room as a workspace, gallery, classroom, dining area, lecture hall and dance studio, Woods considers how the parlour has changed throughout history. In the late 19th century, the parlour was a formal room used on Sundays or special occasions and closed during the week. While containing a family’s best furnishings and works of art, it was also used for funeral preparations, laying out the deceased for private viewing. In the 20th century, architects and decorators, wanting to relieve the parlour of its morbid associations, replaced the name with “living room.” In this scenario, the accumulation resembles life and contains the objects of living. Parlour animates both uses at once. Parlour projects include a collaborative weaving project and exhibition, the production of drawings and sculptures, and learning Yvonne Rainier’s Trio A.