My name is Kat Larson, and I am bi-racial woman practicing fine art in the Pacific Northwest. My current artistic focus is exploring the intersections of new media/digital technologies and performance art. Fueling my practice are the themes of identity and spirituality and investigations of collective consciousness. At the core of my artistic expressions is a reverence for human connectivities and transformations.

I envision the art that I produce affecting positively those who come into contact with my work, as it invites people to travel into the often dark corners of human experience that people dare travel to on their own. However unknown and frightening these spaces are, my work reaches out to viewers—asking them for their trust—and assuages their anxiety through meaningful interactions with questions, ideas, and concepts that are embedded in my work. My audience can feel the strength of my feminine powers. Though sometimes very raw in form and expressiveness, my work nonetheless provokes people to ask important questions about matriarchy, ancestry, sexuality, and life and death. These are topics that connect us as individuals and as part of the many communities in which we find ourselves. When we publicly engage in this type of discourse, we not only realize our connectivity but also transformative strategies for the betterment of humanity. In short, my work initiates critical and timely conversations about community.

My name is Kat Larson, and I am bi-racial woman practicing fine art in the Pacific Northwest. My current artistic focus is exploring the intersections of new media/digital technologies and performance art. Fueling my practice are the themes of identity and spirituality and investigations of collective consciousness. At the core of my artistic expressions is a reverence for human connectivities and transformations.

I envision the art that I produce affecting positively those who come into contact with my work, as it invites people to travel into the often dark corners of human experience that people dare travel to on their own. However unknown and frightening these spaces are, my work reaches out to viewers—asking them for their trust—and assuages their anxiety through meaningful interactions with questions, ideas, and concepts that are embedded in my work. My audience can feel the strength of my feminine powers. Though sometimes very raw in form and expressiveness, my work nonetheless provokes people to ask important questions about matriarchy, ancestry, sexuality, and life and death. These are topics that connect us as individuals and as part of the many communities in which we find ourselves. When we publicly engage in this type of discourse, we not only realize our connectivity but also transformative strategies for the betterment of humanity. In short, my work initiates critical and timely conversations about community.

This series of self-portrait installations is in dialogue with Carlos Villa's "Tat2" pieces that appropriated Maori facial tattoo traditions to explore his identity as a Filipino American in the 1970s. Villa’s appropriation of Maori tattooing was a reflection on the inaccessibility to information of Filipino Art History and Indigenous Filipino traditions.

Considering how technology and the Internet has aided my search for self and placing myself within today’s ethnic and cultural landscape, I manipulate and construct images through digital processes that allow me to explore the complex burden in our relationships with images and identity.

Through research of Wang Od, the last Philippine headhunting tattoo artist, and traditional Kalinga tattooing traditions in women, I continue Villa’s exploration of identity, opening a critical discussion on how information and images have been embedded into our bodies, and how our image-informed identities are then performed in our everyday lives.

This series of self-portrait installations is in dialogue with Carlos Villa's "Tat2" pieces that appropriated Maori facial tattoo traditions to explore his identity as a Filipino American in the 1970s. Villa’s appropriation of Maori tattooing was a reflection on the inaccessibility to information of Filipino Art History and Indigenous Filipino traditions.

Considering how technology and the Internet has aided my search for self and placing myself within today’s ethnic and cultural landscape, I manipulate and construct images through digital processes that allow me to explore the complex burden in our relationships with images and identity.

Through research of Wang Od, the last Philippine headhunting tattoo artist, and traditional Kalinga tattooing traditions in women, I continue Villa’s exploration of identity, opening a critical discussion on how information and images have been embedded into our bodies, and how our image-informed identities are then performed in our everyday lives.

This series of self-portrait installations is in dialogue with Carlos Villa's "Tat2" pieces that appropriated Maori facial tattoo traditions to explore his identity as a Filipino American in the 1970s. Villa’s appropriation of Maori tattooing was a reflection on the inaccessibility to information of Filipino Art History and Indigenous Filipino traditions.

Considering how technology and the Internet has aided my search for self and placing myself within today’s ethnic and cultural landscape, I manipulate and construct images through digital processes that allow me to explore the complex burden in our relationships with images and identity.

Through research of Wang Od, the last Philippine headhunting tattoo artist, and traditional Kalinga tattooing traditions in women, I continue Villa’s exploration of identity, opening a critical discussion on how information and images have been embedded into our bodies, and how our image-informed identities are then performed in our everyday lives.

My name is Kat Larson, and I am bi-racial woman practicing fine art in the Pacific Northwest. My current artistic focus is exploring the intersections of new media/digital technologies and performance art. Fueling my practice are the themes of identity and spirituality and investigations of collective consciousness. At the core of my artistic expressions is a reverence for human connectivities and transformations.

I envision the art that I produce affecting positively those who come into contact with my work, as it invites people to travel into the often dark corners of human experience that people dare travel to on their own. However unknown and frightening these spaces are, my work reaches out to viewers—asking them for their trust—and assuages their anxiety through meaningful interactions with questions, ideas, and concepts that are embedded in my work. My audience can feel the strength of my feminine powers. Though sometimes very raw in form and expressiveness, my work nonetheless provokes people to ask important questions about matriarchy, ancestry, sexuality, and life and death. These are topics that connect us as individuals and as part of the many communities in which we find ourselves. When we publicly engage in this type of discourse, we not only realize our connectivity but also transformative strategies for the betterment of humanity. In short, my work initiates critical and timely conversations about community.