Throw out your old ideas about watercolor and explore the vividly-colored world of Katherine Lemke Waste. Unlike the sedate images of pale landscapes so often attributed to watercolor painting, Waste’s work arouses the senses. And for Waste, it is in the nature of common objects that we discover our own personal histories.
Maybe that’s why looking at Waste’s intricate and delectable representation of a fruit tart on a glass stand, or a polished stainless-steel toaster next to a loaf of Wonder Bread triggers memories of my mother’s kitchen. Although the objects she paints are familiar to most households, it is in the presentation that we are romanced and wooed. A painting of a French blue garden chair situated on a brick patio reminds us of the value of a quiet moment, or the pairing of two autographed baseballs takes us back to a favorite childhood memory. “I like the story of a simple object,” says Waste. “I like the fact that they are universal and offer the viewer the opportunity to make their own individual connection.”
Behind the emotions Waste inspires is her patient layering of color. “It’s a building process,” explains Waste as she points to one of her paintings. “For example, this particular shade involved 10 different colors, a series of glazes applied over time.” Heavier paper allows for better absorption of pigments, and technological advancements have improved the quality of the paints. “I’m drawn to the inherent luminosity of watercolor. It doesn’t exist in any other medium.”
Even more illuminating is the explanation of the inside-out procedure of creating a finished painting. “Watercolor requires you to work backwards,” says Waste. “You have to imagine the painting in its entirety before you paint because the white you see in a watercolor comes from the paper.” In other words, what you don’t paint makes all the difference.
It isn’t just Waste’s paintings that make a difference. She has devoted the last ten years of her artistic life to helping others learn the craft, in her role as Artist-In-Residence at Shriners Hospital for Children in Sacramento. “I like teaching art,” says Waste. “It gets me out of the studio and I feel as if I have the opportunity to help others tap into their creative talents.” Waste currently conducts monthly workshops at the Natomas Community Center and also teaches both children and adults at the Crocker Art Museum.
Waste’s art continues to evolve. Known for painting large works, Waste is “zeroing in” on the images she paints. “I’m getting closer to the objects,” says Waste, “crossing the line from representational to abstract.” But there is nothing abstract about the reactions her watercolors evoke. They are as real as grandma’s prize-winning apple pie . . . and just as satisfying.
