Katherine Houston

Katherine Houston

“Much like trying to hold on to sand in your hand, control is the surprising outcome of letting go...By fully relenting to my work, I somehow gain control.”                

-Katherine Houston


Katherine Houston is a native Houstonian who has spent the majority of her life in the Houston area. Katherine began her career as an investment broker in the late 70’s. She left this career in the late 80”s to begin a family. Katherine has devoted much of her past 15 years to studying and producing art.

Katherine’s studies have included institutions such as The University of Houston, Glassell School of Art, and The Art League. She also studied privately with a number of renowned artists, such as Will Clem, Ruth Munson, Polly Liu, Gary Hernandez, and Quang Ho.

Katherine has worked with a number of mediums, grounds, and styles of painting. She explores abstract and bold scenery as motifs to describe the idea of infinite space. Her abstract paintings usually start with a color idea and then evolve into compositions in which color is the primary subject. Currently, she is participating in a number of art exhibits and galleries in the Houston area, Dallas, and Chicago. Her goal is to continue her education in the art world with a particular focus on abstract painting.

Katherine’s work is held by a number of collectors both private and public.


“Much like trying to hold on to sand in your hand, control is the surprising outcome of letting go. It is this push-and-pull of logic that drives me to make my art. By fully relenting to my work, I somehow gain control.

As with any work of art, I start with a blank canvas, or in my case, a piece of plexiglass.  I use the technique of “reverse painting,” where I apply acrylic paint to the back of a piece of plexiglass. On the other side, beneath the layers of paint, lies the fruit of my labor.

Although my method of painting lends itself to the creation of abstract imagery, I still find inspiration in a city or landscape, places grounded in reality. I choose beautiful colors that fuel my brushstrokes and pull me into the painting - a serene, happy place of my own making. 

Like a blind contour drawing, “reverse painting” is about having control over something that cannot fully be controlled. I see general shapes formed by colors being brushed onto the reverse side of the glass. But it is not until I turn the plexiglass over I have not seen the totality of what has been created: an aesthetically stimulating representation of my surrender. “


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