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Kate Lynn Lewis
Chicago, IL
My name is Kate Lewis, and I’ve been making art my whole life. Every summer growing up my parents took us on road trips in a caravan where the back seat folded into a bed, sometimes for two months at a time. I always kept a journal, and in it, I would draw the roadside flea markets in Georgia, the A-frames in Alaska, the beach houses along the east coast. I was enamored with architecture.
I started traveling on my own at 18, drawing the houses along Playa Grande in Costa Rica on pizza box covers in permanent markers, painting cities with watercolors out of my backpack from Brazil to Peru, selling postcards of stone buildings in the Pyrenees in France outside of restaurants, until eventually, I got my first drafting table when I settled down in Chicago. Here was where I really started to run with black and white line work, going to art jams, getting involved in the largest community of creatives I’m still grateful to be supported and surrounded by.
My practice shifted to mural work when I started studying masters of visual deception like MC Escher, taking note of the ways in which they used architecture as a catalyst for creating illusions. Learning to incorporate my own love of line work with these concepts, toying with strange points of perspective, and making conscious use of negative space, I continue to experiment on every project with the intention of challenging the viewer’s brain to think differently.
I started traveling on my own at 18, drawing the houses along Playa Grande in Costa Rica on pizza box covers in permanent markers, painting cities with watercolors out of my backpack from Brazil to Peru, selling postcards of stone buildings in the Pyrenees in France outside of restaurants, until eventually, I got my first drafting table when I settled down in Chicago. Here was where I really started to run with black and white line work, going to art jams, getting involved in the largest community of creatives I’m still grateful to be supported and surrounded by.
My practice shifted to mural work when I started studying masters of visual deception like MC Escher, taking note of the ways in which they used architecture as a catalyst for creating illusions. Learning to incorporate my own love of line work with these concepts, toying with strange points of perspective, and making conscious use of negative space, I continue to experiment on every project with the intention of challenging the viewer’s brain to think differently.
Wescover creator since 2019
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