This page contains exhibition information, a bio and artist statement. To see articles written about and by Karin, see the Press section.
A complete resume available with this link: Schminke Resume
Recent Solo and Feature Exhibitions
“Altering Natural Perceptions“ Featured Artist, Walker Fine Art, Denver, May-July 2016
“Shadows and Reflections” Solo exhibit, Bainbridge Arts and Crafts Gallery, Bainbridge, WA January 2015
“Natural Interludes” Featured Artist, Walker Fine Art, Denver, January-February 2014
“Natural Interludes” Solo exhibit, Patricia Cameron Gallery, Seattle, WA June-Aug. 2013
Featured Artist, Walker Fine Art, Denver, CO. Feb.-April 2012
“Open Space” Solo Exhibit, Patricia Cameron Gallery, Seattle March-April 2011
Featured Artist, Marshall LeKae Gallery, Scottsdale, AZ Nov. 2011
Featured Artist, “Confluence” Pearson Lakes Art Center, Okoboji, IA, July-Nov. 2010
“Environmental Studies” Bainbridge Arts and Crafts Gallery, Bainbridge, WA Sept. 2008
“Essential Elements” Walker Fine Art, Denver, CO July 2007
“PAINT+pixels” Orange County Center for Contemporary Art, Santa Ana, CA March 2007
Featured Artist, “Explorations” Edmonds Community College, Oct.-Dec. 2007
Selected Recent Group and Juried Exhibitions
“Pressing On” Seattle Print Arts Exhibition, Schack Art Center, Everett, WA, November-December 2016
“35 Live” Center on Contemporary Art, Seattle (juried) March 2016
“Grid Show” Museo Gallery, Langley, Washington, (group invitational) May 2015
“Explorations” BallardWorks, Seattle July 2015
“Natural Forms” Shoreline Community College Gallery, by special invitation Feb. 2015
“Current: Bridging Post Digital Technologies” Southern Graphics Council invitaional exhibition at the San Francisco Academy of Art, March 2014
“Off the Grid” Columbia City Gallery, Seattle WA, March 2014 (group invitational)
“CoCA Collision: Past, Present, & Future” Center on Contermpory Art, Seattle, WA. September 2013
“Kenmore Art Show” Bastyr University, Kenmore, WA, June 2013
“New Media: Digital Art” Curator and invited artist, Bainbridge Arts and Crafts, Bainbridge, WA. April, 2013
“Grid on Madison” Baas Gallery, Seattle, WA. March. 2013
“Affordable Art Fair Seattle 2012” Exhibition Hall, Seattle Center, November 2012
“Autumn Review” Patricia Cameron Gallery, Seattle, WA November, 2012
“GRID @ BallardWorks” BallardWorks, Seattle, WA September, 2012
“Currents: Seattle Print Arts 2012” University of Washington’s Jacob Lawrence Gallery. August, 2012
“Portals” Art Museum Complex, Duxbury, MA May 2011 (3 person)
“Summer Thoughts” Patricia Cameron Gallery, Seattle, WA, August 2010 (group invitational)
“The Woods” Bainbridge Arts and Crafts Gallery, Bainbridge, WA , May 2010 (group invitational)
“Pleasures of the Garden: Visualizing the Song of Songs” curated by Alice Dubiel. St. James Cathedral Chapel, Seattle, WA, May 2010
“Seattle Print Arts Salon Exhibition” Patricia Cameron Gallery, Seattle, WA February 2010 (group invitational)
(See sidebar for link to list continuation.)
Karin Schminke received her MFA from the University of Iowa and has been a professor of art at the University of Wisconsin-Eau Claire, California State University Northridge, and the Laguna College of Art & Design. Since 1995, she has worked full time as a fine artist.
Schminke’s art has been shown extensively both nationally and internationally for over 25 years. Commissions and collections of her art appear in dozens of corporate and public spaces across the U.S. A few examples include the Smithsonian American Art Museum in D.C., Electronic Arts in Vancouver, several Seattle libraries including the University of Washington Bothell campus and a number of office buildings and hospitals on both coasts. She has also created many private commissions and is included in numerous private collections.
As a leader in exploring the integration of digital technologies with traditional art materials, her processes have been written about in dozens of books and periodicals. She has given numerous workshops and presentations across the country. In 1997 she co-organized Digital Atelier: A Printmaking Studio for the 21st Century at the Smithsonian American Art Museum in Washington DC, and was an artist in residence there for three weeks. For her contributions to this project she and her co-organizers received a Smithsonian/Computerworld Technology in the Arts Award. In 2001, she was invited to demonstrate digital printmaking techniques with the Digital Atelier at the opening of the Brooklyn Museum of Art’s 27th Print National, Digital: Printmaking Now.
In addition to the Smithsonian, she has participated as artist-in-residence at sites as diverse as the Whiteley Center in the San Juan Islands in Washington State, Harvey Littleton Studios in North Carolina and Herman Miller Inc. in Michigan. She continues share her work and techniques through her Facebook page “Schminke Fine Art”.
With Dorothy Simpson Krause and Bonny Pierce Lhotka of the Digital Atelier™, Karin co-authored Digital Art Studio: Techniques for Combining Inkjet Printing with Traditional Art Materials published by Watson-Guptill in 2004. She also has co-authored over a dozen journal articles on this subject.
Karin maintains a studio in Kenmore, a suburb of Seattle, Washington.
All of my work is inspired by nature, although not necessarily by vistas and views. I am drawn to textures, colors, and forms that are deconstructed and then assembled to create unique nature-based compositions. For example as I view Lake Washington from my studio, water often finds its way into my work as a color and/or texture, although the subject of the piece could be something unrelated to water.
As light is such a focus of life here in the Pacific Northwest, it naturally plays a major role in all of my art. I use aluminum as a “canvas” for mixed media because of its reflective qualities. With aluminum as a base, transparent pigment inks (from a large format inkjet printer) and acrylic gels are added to allow reflection of ambient light. These light reflections are then modulated by laser-cut papers embedded into the gels, and also by selectively applied acrylic paints. This results in intricate patterns of reflected light that interact with the viewer’s movements as well as changes in available light.
My experiments with laser cutting inspired a series of cut-wood panels. These “Cut Screens” reflect my interest in processes such as flow, growth, or synergy and use a vocabulary of forms based on my drawings. Again light plays an important role as the screens are installed using metal standoffs several inches in front of the wall to allow the art to interact with its own cast shadow.
In all my work I aspire to weave various elements of nature into pristine visions that evoke meditative spaces and remembered places meant to soothe the soul.