Kim Owens

Born and raised in Texas, Kim Cadmus Owens moved to Dallas in 2006 after having lived on both the East and West Coasts as well as Japan. She received her MFA in Art from Towson University near Baltimore, Maryland, and her BFA in Painting and Drawing from the San Francisco Art Institute in San Francisco, California.

The daughter of an engineer and a painter she has turned her innate interest in structure and space into works which negotiate place and our experience of it. In 1998 the incorporation of digital processes enabled her to create works tied directly to our contemporary modus operandi. Her studio practice includes paintings, drawings, prints and installations.

Owens' work has been exhibited nationally at venues such as the Corcoran Gallery in Washington DC, Islip Art Museum in New York as well as numerous galleries. Her most recent solo exhibition titled, Reading Between the Lines, was held at Holly Johnson Gallery in Dallas by whom she is represented. Owens also created art and designs as Station Artist for the DART Light Rail Orange Line station at the Las Colinas Urban Center which recently opened in the Summer of 2012. Her work has been featured in the book Texas Artists Today published by Marquand Press, New American Paintings #102 and #78, and reviewed in various publications including ARTnews.

Kim Cadmus Owens resides in Dallas and is Associate Professor of Art in Painting at the University of Dallas.

Artist Statement
Owens is inspired by nostalgic imagery reflecting decades of redevelopment - a mid-century bank, a roadside motel, deco-era signage and a city block's facade. Through shifts in color palette, perspective and composition, Owens un-tethers this imagery of structures, signs and words from the past and creates new meaning and significance that speaks to the future. Owens' work examines the effects of digital technology on our environment. Whereas most see interruptions of this technology as an inconvenience, Owens sees it as an opportunity to explore the complex and hyper-visual nature of this new techno-mediated reality. Using a computer to convert and process imagery, the artist turns the visual evidence of the digital into a formal language, exposing the images encoding to reveal its inherent abstractions.