Alberto Rios de la Rosa: Your background combines formal art training with studies in Geosciences. How has this interdisciplinary education shaped your approach to representing Earth’s landscapes and geological processes in your work?

Kate Mullholand: Studying both art and geosciences taught me that expertise isn’t a prerequisite for meaningful dialogue—curiosity is. Curiosity is critical for effective communication. Someone once said you can be the most accomplished genius in your field, but there’s no bucking the status quo if you can’t articulate it to anyone. If you can’t explain your research to a four-year-old and keep them interested, what’s the point?

I’m neither a genius, a scientist, nor just a painter. But I know how to get people excited, read research, use field instruments, and hold real conversations with geophysicists, curators, and artists alike. Science could use a better PR team—so why not encrypt data into something stealthy, something that lives inside people’s homes and research institutions alike? Make it look cool and tell an even better story. Ultimately, my work distills these exchanges into something visually engaging—an entry point into environmental narratives that can be difficult to discuss in today’s polarized climate. There are lots of layers, both physically and even more conceptually, in my current work.

Evangeline (1976), 2024, Acrylic latex on canvas. 21.75  x 16.5 inches.

Movements (East Texas Salt of the Cretaceous and The Mexico Basin Aquifer Groundwater Flowpaths), 2024, Acrylic latex and Oil on canvas. 35.75 x 24.25 inches.

ARR: Your art emphasizes making science more accessible to the public. Could you talk about specific techniques or visual strategies you use to help viewers connect with complex geological concepts and time scales?

KM: I use layering, erosion, and abstraction in my paintings and paper works to make geological data and deep time more accessible, sparking curiosity through the unexpected. I’m cautious about presenting imagery that feels too authoritative, as I don’t claim to know more than anyone else. This discomfort has guided my approach, encouraging me to use abstraction and landscape to invite exploration. Inspired by Henri Bergson’s idea of time as a collection of experiences, my work reflects on how memory shapes our understanding of history, particularly natural history.

For me, it’s about the stories—like how Mexico City’s sinking reveals the ancient Aztec civilization of Tenochtitlan. Instead of focusing on millions of years and geological periods, I paint stories that connect people to the environment in ways that are accessible and memorable. My paintings aren’t maps but gestures or composites of maps. They may be abstracted or coded, but the stories are still the origin from which I pull to create the visuals. There’s as much to look at as there is to talk about. Without the stories, the paintings wouldn’t exist. It’s like how we say it’s about the journey, not the destination.

My paintings are like visual puzzles, shifting in scale with information and textures that invite physical interaction. Bright colors act as nature’s warning signals, like the colors of a fire or a sea snail, drawing people in with dazzle while hinting at deeper mechanics. These colors also reference familiar digital representations, like weather maps on the news or heat signatures, making a great vehicle to communiate meaning.

While my current work focuses on engaging viewers, I’m also moving toward public activism, prioritizing accessibility and direct engagement with the environment.

Ancestral Coasts, 2024, Acrylic latex on canvas. 36 x 24 inches.

ARR: The recent collaboration with K2 Sports seems like an interesting way to bring your geological-inspired art to a different context. What was it like adapting your work for snowboard designs, and how did you maintain the scientific narratives in this commercial format?

KM: Adapting my work for the K2 snowboard designs was an interesting challenge. Combining artwork that relies on climate with a sport dependent on the climate felt fitting. They used earlier works focused on geological processes—pieces where layering and texture were shaped by climate (humidity, temperature, etc.), sanding grit, and found paper.

The images they selected had market appeal, which is what I am going for with my Trojan horse approach to conceptual and abstract artmaking. The most exciting part was seeing how far screenprinting technology has come. The detail achieved was incredible: they scanned a 15 x 22-inch Agate, and the final prints showed such precision that you could see the fibers of the paper beneath the layers of coating and grip. It was fascinating to see the scientific narratives and textures evolve in their integrity in a commercial format while being used in a context as dynamic as snowboarding. The boards have just about sold out globally at this point. Thank you for reaching out! I have also attached several files of newer work to illustrate the interview.

Dunes of Bajia Grande, 2024, Acrylic latex and UV on cotton. 72 x 48.5 inches.

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• Comprehensive Analysis: Delve into the historical evolution of contemporary art, exploring its roots and influences to gain deeper insights into its current manifestations.
• Exploration of Diverse Practices: Gain an appreciation for the multitude of artistic approaches and mediums employed by contemporary artists, from traditional painting and sculpture to innovative digital installations.

• Engaging Discussions: Participate in stimulating lectures, exercises, and discussions designed to foster critical thinking and dialogue around contemporary art’s complexities and implications.
• Accessible Learning: Our course is tailored to accommodate participants with varying levels of familiarity with art history, making it an inclusive and accessible learning experience for all.

Whether you’re a seasoned art enthusiast eager to deepen your understanding or simply curious to explore the artistic landscape of the 21st century, our course offers a valuable opportunity for personal and intellectual growth.

Sessions:
8 sessions via zoom. Tuesdays | 10-12hrs

Session 1: March 26th Introduction | Beuys v Warhol: themes of contemporary art.
Session 2: April 2nd When attitudes become form: minimalism, land art and conceptual art.

Session 3: April 9th Gender studies: Feminism and LGBTQ+.
Session 4: April 16th Post painterly and Neo Expressionism.
Session 5: April 23rd Post modernism.
Session 6: April 30th Art as Photography as Art.
Session 7: May 7th Cases from Latin America: Argentina, Brazil, and Colombia.
Session 8: May 14thMexico 1990-2010.

Professor:
Alberto Ríos de la Rosa

He holds a MA in history of art from The Courtauld Institute of Art, London (2014) and a BA in history of art and French literature from Macalester College, Minneapolis (2011). He is currently the curator of PAC Art Residency in Houston and a contributing researcher and writer for Colección Isabel y Agustín Coppel. As curator of Fundación Casa Wabi (2014-2023), he worked on individual exhibitions by Daniel Buren, Michel François, Harold Ancart, Jannis Kounellis, Ugo Rondinone, Izumi Kato, Huma Bhabha and Claudia Comte. He developed the residencies program in Puerto Escondido and Tokyo and promoted emerging Mexican artists through its exhibition platform in Mexico City. Previously, he held positions at the curatorial teams of the Museo Tamayo in Mexico, the Minneapolis Institute of Art in the USA, and the Peggy Guggenheim Collection in Venice.

More information:

Registration and more information: alberto@pacartresidency.org

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