A solo exhibition of sculptural paintings by Patricia Orpilla 

September 20 - November 7, 2019

Kiosk Gallery, KCMO

Woven, Open Enough to take Nails  (PDF)

Part one of an essay released at the exhibition about sewing terminology embedded in oral tradition and its link to feminine record in contemporary art.  

Pillars is a recent body of work by Patricia that uses silk organza and wooden armatures to explore metaphorical depictions of time — the way a shadow might represent the past or “the long bag we drag behind us” as Robert Bly describes, or the imagistic lineage from investigations into the precision of time with sundials mapping positions of the sun in the sky. Her prior folded works have evolved into volumes of transparent layers, revealing the form of the support beneath. Her recent work is inspired by the long-distance relationship she holds with her mother and, currently, her partner while time consciously continues to flee from each of us and abscond. Support systems, pillars and the holes that compose the passage of time have influenced the language in Pillars.

None to Lean On

oil on canvas

8 ft. x 5ft.

First row, left to right:

1) Faith in Cause

2) Uprising More Than Sinking

3) From a Tone Change


Second row, left to right:

4) Picture in Light

5) An Elsewhere in a Trip

6) I don’t see god in myself

Photo courtesy of Daniel Hinkle. 

From a Tone Change

acrylic on organza

24 in. x 4 in. x 24 in. 


acrylic on organza 

24 in. x 6 in. x 36 in.

First row, left to right:

1) There’s a Softness When She Leaves Me Quietly

acrylic, paper, and plaster

2) You Know Me, Now Walk Home Naked

oil, paper, and plaster

3) At His Folding Table

inkjet print, paper, and plaster

4) As She Shakes Near the Sea

acrylic, paper, and plaster

5) Slow Feeling

acrylic, paper, and plaster

Second row, left to right:

6) That You Need Me Too

paper, chalk, and plaster

7) Or into a Natural State

a) Media: acrylic, paper, and plaster

8) Pull the Carpet Back

oil, acrylic, paper, and plaster