Kiertzner captures the essence of life's fluidity and spontaneity. These varied and colorful shapes emerge like a celebration of the natural world's boundless creativity, embodying the gentle curves of petals, the winding contours of branches, and the undulating rhythm of rolling hills. Each stroke takes on a life of its own, as if guided by the very forces that shape our surroundings. The absence of strict boundaries fosters a sense of unity and harmony, allowing elements to intermingle seamlessly.
As a native to Southern California's Inland Empire, the Claremont village has served as a source of inspiration for Kiertzner’s work. As a New England-style university town with pedestrian-friendly tree-lined streets, and an east coast ambiance, the area has a rich artistic history of fiber artists stemming from the arts and crafts movement rooted in California's citrus industry. Kiertzner follows suit as she connect with exterior spaces that store internal memories of exploration, discovery, and awe.
“As an artist attending Fullerton College, I quickly learned that you’re encouraged to find your own voice. I knew that I wasn’t strictly an abstract painter, or a sculptor. I didn’t respond to the rigidity of one form or focus. I was more concerned with the hierarchical and patriarchal histories inherent in the making. As a Native American Indigenous artist, I knew that the intrinsic value of the work was important. I didn’t want to make work that was easily reproducible, and it needed to stand alone within its spirit. At the same time, I was excited by the juxtaposition of colors familiar to my generation. Highly saturated, vibrant colors of the 80’s that brought about a playful mood to the focus of natural subject matter. So, I arrived at experiments that changed material, medium and processes to fit my narrative. Today, I feel more connected than ever with how fiber transforms its condition in shape, color theory and texture. How, fiber, alongside expressive thick paint, builds a sculptural element, as free-floating lines on top of the paint can be a sort of anchoring point and appear like the lenticular affect as you move around the work. How working in embroidery fiber, alone, can generate new optical mixing, as it is woven and animalistic and ephemeral.”
Oil and cotton embroidery on canvas.