Nietzche said, “Great art is gratitude.” And Goethe said, “In art personality is everything.” As a fine art photographer with artistic roots in dramatic writing, Kat works to balance gratitude and personality in all her pieces. Her portfolios, printed on metal, feature graffiti, abstract art and mixed media.
Kat’s work has been featured in numerous publications including The New York Times and has been described as provocative, imaginative and unexpected. She has won many awards for her art – Gold for Best of the Best East End Artist by Dan’s Papers and The Award of Excellence by Juror Karen Marks, Director of Manhattan’s Howard Greenberg Gallery, one of the world’s leading photography galleries.
Kat is represented by The White Room Gallery in Bridgehampton, NY. (Voted best gallery in The Hamptons, 2015, 2016.)
Her work has been shown at RJD Fine Arts Gallery, Jeanie Tengelson Gallery, Fotofoto Gallery, Guild Hall, a year long exhibit at Cold Spring Harbor Whaling Museum, The Marine Museum, Ashawagh Hall, The Gallery at East End Arts and The White Room Gallery with private collections in NY, LA, Vegas, London and Paris.
Recent shows include All 4 Color, Up on the Roof, Landscapes – From Metropolis to Arcadia, Endangered: Art for Apes, Love and Passion, America on Fire, Women Painting Women, Phenomena of the Physical World, Waves and Watercolors, Structure: Within and Beyond and National Photography Only Competition and Fifty Shades of White.
Hamptons Art Hub Review/2016
“Photographer Kat O’Neill took a different tack when making her images. After photographing the murals thoroughly, she collaged details of the street art or images of murals in their entries with images that channel the ways graffiti has made its way into pop culture such as clothing design and fashion advertisements. In one work, Subway Style 1, O’Neill includes graffiti history through the collaging of tagged trains with long horizontal presentations of her photography. Other works are presented as broken circles with distinctive zig zags dividing the frameless work set on metal. Often accented with painted circles (to conjure the shape of spray can and sometimes images of spray cans themselves), the circular works accentuate the vivid colors, lines, patterns and writing O’Neill captured with her lens. Along with creating compositions that reverberate with color and pattern, narration has a strong presence in O’Neill’s work. She is a storyteller (produced playwright and fiction writer) and the photographs on view vibrate with implied stories or those waiting to happen. Some of her photo works borrow a page from text art through their bold titles: You Should Have Tried Harder requires no further explanation for the sultry look in the model’s eyes as she gazes boldly back at the viewer. Her body is partially secreted by a horizontal bar filled with excerpts from street art, casting a fashion ad look to the work.”