"Shadow Tracking is my largest painting to date. I started this piece with only a color theme in mind. Warm. I wanted to paint an overwhelmingly large warm painting. As I started to paint this piece I quickly realized how my body was going to influence the painting. The curves, shapes and lines became translations of movements and the reach of my arms. Through this process, the painting divided itself into three parts. Top, the part I had to use a ladder to reach. Middle, the part I could easily approach by walking up to it with a brush. Bottom, where I had to lean down or use a stool. I let this develop naturally and decided not to fight these divisions. With all my work, I want the viewer to feel distance and perspective, but especially in this painting. The size allows the viewer to see my shapes as something you might be able to walk around and see all sides of them. The form in the middle is an arch, a shape I often revisit in my work, it gives the viewer an imagined entrance to peek though and see far off in the distance. An entrance to this imagined landscape. 

Time has Width came to me as a vision in the middle of the night. I woke suspended between sleep and consciousness with the words "Time has Width" repeating loudly in my mind. As the words repeated, I saw an entirely new body of work. Colorful paintings of timelines marked with important events. Each event was surrounded by thread like circular lines that expanded, overlapped and conversed with one another. The paintings were almost three dimensional with radiating lines spinning like moons around a planet. They were huge, wild, alive and had no orientation.
 
Ideas take shape as I paint. Often, an idea will spin around my studio like a destructive tornado, but eventually it will settle and I can begin to see its shape and color. Time has Width was like this when I brought into my studio. It was an unruly idea that took some time to settle. As I started to paint this series, I first painted what I saw in my vision, but over time I found there was much more to work with. I dissected the original vision of the paintings. I zoomed in on just a corner, I painted it from different angles or I imagined the timeline was a column of color that was falling apart. Then I painted the radiating lines breaking apart to form their own sense of direction. Time has Width started with my original vision but over time it has been dissected, abstracted and reimagined to make a continually evolving body of work." —Ky Anderson

Ky Anderson was born in Kansas City, MO in 1973 and received a BFA from the Kansas City Art Institute (1991–1995). In 1996 she moved to Brooklyn, NY where she lived and worked for 25 years. After moving to Brooklyn she quietly painted for a decade, and by 2007 was regularly showing her work.  Since then, she has exhibited widely over the United States, Canada and Europe in solo shows, group shows, and art fairs. She is represented by Jack Fischer Gallery in San Francisco, CA, Kathryn Markel Fine Art in New York, NY and Sherry Leedy Contemporary Art in Kansas City, MO. Her paintings have been shown in public institutions including Moore College of Art, Weatherspoon Art Museum, The Nerman Museum, The University of Northern Iowa and The University of Dallas. Her work is held in many public and private collections throughout the world. She lives and works in Kansas City, MO. 

Jack Fischer Gallery