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From the Model's Perspective:
An Interview with Kathryn Daily

[Editor's Note: When we look at a painting, we see the artist's realization of a vision. But in the case of The Kathryn Series, that initial vision came from both the artist Joseph Daily and his subject and new bride, Kathryn Daily. And while we expect to "see" the voice of the artist in a work of art and, in conjunction, learn something about the subject, it's quite unusual to actually "hear" from the subject… especially from a subject who actively participates in the creative process and planning of the work. It's this most often, unheard from point of view that GrailWorld Online contributing editor Carol Rubenstein wanted to hear...]

GrailWorld: What was the original inspiration for the project?

Kathryn Daily: The very first fledging idea came when Joseph was completing work on the portrait of me in the field. It had all the elements of The Kathryn Series almost by accident - a figure in nature that evokes a spiritual meaning. The Kathryn Series attempted to do that more consciously.

GW: So what, then, was the concept for the project? Painting the subject (you!) in nature through twelve celestial seasons? Or was there more?

KD: It was a conscious collaboration between a woman (who is very intuitive… I receive impressions and intuitions from Nature) and a man who has the ability to clothe those perceptions in a material image.

GW: Why was it important to set the figure in nature, rather than an interior setting?

KD: There were several reasons: I myself am personally the type to feel most at home in nature; nature is relatively free of the presently-disruptive influence of mankind; it was a means to re-connect ourselves with the natural cycles of the earth, and an opportunity to deepen our fledgling understanding of astrology; I think I personally sought to find the connection between the range of human emotions and the cycles of birth and re-birth that are found in nature.

GW: What was Joseph's process for painting? Did he work from photos? Or were the paintings created plein air? Did he do a "study" painting before the final pieces?

KD: Due to a hectic work schedule, and inexperience in working plein air, the paintings were almost entirely done from photographs. Toward the end of the series ("Cancer," "Leo" and "Virgo"), Joseph did execute plein air studies. I also did some life posing for a few of the paintings.

GW: Is there meaning behind the fact that the subject is (usually) not looking at the artist/viewer? Don't most portrait paintings have the subject look directly at the viewer?

KD: There is a practical reason for that! The paintings are rather small, usually 16" by 21", so trying to capture a successful likeness with an uplifting expression was difficult. Usually my head was only 2-3 inches big. But I also wanted the paintings to be a reflection of a relationship to nature, to show the subject surrounded by, and a participating part of, nature. It was also a process that was best for me as a subject - I was in the middle of some rather intense emotional states, and when it was finally time for my face to be depicted most fully, in "Cancer," I was coming out of a more troubled phase.

GW: Is there special significance to the type/color of clothing chosen for the subject? If this was intentional were these decisions part of the collaboration or was this your call, Kathryn?

KD: The clothing was intentional, and was meant to reflect the themes of the painting. I think in colors, hear music in colors, and see numbers in colors, so the dresses are sort of an extension of that state of being.

GW: What was your collaborative process, and what were each of your contributions to it? Who made decisions about things like placement and figure position in the landscape? Were these decisions made through discussion?

KD: The paintings came through me first. I spent time reflecting on the season at hand, where we were as a couple in our relationship, and the little knowledge I had of Astrology. Usually I saw an image of myself, almost like a slideshow clicking into place before my inner eye, in the pose that the painting should show. I would often have a concept of the place in the landscape, but once I had communicated my feelings and concepts to Joseph, I left it up to him to compose and refine. There was some discussion, but mainly it was a process of handing over my feelings and rough conceptions to Joseph to polish and refine.

GW: Where are the paintings now? If you are keeping them, what significance do they hold for you?

KD: We plan to keep only "Leo," since I had an especially strong connection and communication with Nature during that time. Libra was given as a gift to Minnie Churchill, whose commissions began our England adventures and gave us the financial means to rent our little cabin and make these paintings. Virgo was purchased by one of our other English clients. "Aquarius" has also recently been purchased through an English gallery. We are hoping to earn more of our income through gallery sales, and it's special that The Kathryn Series can continue to open doors for us.

GW: What did you as individuals and as a couple, hope to gain through the exercise?

KD: We mostly wanted to deepen our understanding of the processes of Nature, and what those processes represented from a spiritual perspective.

GW: Can you imagine doing an exercise like this again? If so, what would you hope to gain that you didn't get from the first time around… or what would you be looking for to be different compared with the first project?

KD: I think we already continue to approach working together in the manner of The Kathryn Series. However, we would hope that the feelings to be expressed in the paintings would arise in their own time and in a manner most appropriate for them, rather than on a fixed schedule. I don't think I could imagine repeating the exercise exactly, especially as our relationship to each other and to painting continues to growth, develop, and re-form.

GW: Have you done a collaborative project since this one?

KD: Almost all of the work we do is a collaborative process, just not to the degree that The Kathryn Series was. I'm usually there to help finish a painting, at the very least. Nowadays I play more of an assistant's role, just helping tweak things and move things along. The most recent portrait of me was more of a collaboration as far as its conception, but the working process is ever-changing, and we seem to currently be in a half-way point between phases, so it's sort of difficult to elaborate on that at this point.

GW: What is Joseph working on now?

KD: He just finished a life-sized portait of me, which we hope will be accepted to a national competition. But really things are changing for us in many ways. We're looking to buy some land and build a home of our own soon in upstate New York. I think this material move will provide many changes to his artistic direction and experience.

GW: I understand that you are also a painter.

KD: Yes, my training includes studies at the Moore College of Art and the Pennsylvania Academy of the Fine Arts; both are in Philadelphia. But painting hasn't been my focus: I've only completed one in the last few years. What's important is the working roles Joseph and I have been able to establish… bringing my special gifts together with his. He and I share the same artistic language and background in painting, which helps tremendously when working together.

GW: What are you working on now?

KD: I continue to help with the portrait business. I've also been spending time working on the house. I think that I've mainly been working on myself. I continue to experience the world via my emotions and intuitions, which give me ample opportunity to work through those blockages I didn't even know I had. I don't think I'm as dependant as I used to be on the medium of painting for this process. And this growth means a lot to me, because painting used to be my only outlet for a lot of feelings.