I first saw Kayt Hester Lent’s work at local bistro LITM and then again at Grace Church and at the Hudson County Courthouse. From the beginning, I found her images warm and her methodology inventive. Her use of tape as a tool for making lines is intriguing to viewers and is a wonderful narrative tool. Because masking tape has meanings other than those tied to works of art, it becomes a signifying part of the imagery. The small, irregularly shaped pieces of black become the lines by which the image is made visible. This past season, Ms. Lent had a solo show at Jersey City Museum titled “Black Tape.” It was our pleasure to host her wonderful work on our front window, and we look forward to her future endeavors.
How did you become inspired to work with tape as your medium?
Working as a photographer in a photo studio, we always had the tape lying around and I often played with it, tearing it into small pieces Originally, I started making works from vellum and blue tape. I really liked the stained-glass effect, especially with the light shining through. But it was difficult to keep archival. I had tape lying around and started using the blue tape first, then switched to the black tape. I really liked the purity of using just black and white. I got a lot of satisfaction out of ripping the small pieces of tape apart. It was a meditative process.
Tell me more about working in the photography studio.
I was a still-life photographer for publications like Martha Stewart Living, Scholastic magazine, J. Crew catalogue. I ended up getting lots of work as a still-life photographer. After Sept. 11, the studio shut down and I sold most of my equipment. I didn’t feel like getting back into it. I started doing these tape pieces for fun. My friend Scott saw the works and encouraged me to show the works, but I was reluctant to do so. One day, though, I had a really bad day and I decided I really needed to get out of the house for a break, and I took all my works to LITM and showed it to [owner] Jelynne [Jardiniano], who gave me a show on the spot. If she hadn’t been so encouraging, I would have stopped making the tape art pieces and probably would have tried to get back into commercial photography. Now, every time I have another show, I send her some flowers with a thank-you note.
How did you first become interested in photography?
My father was very supportive of my creative sensibilities. I was hyperactive and not so good in school. My father knew how to channel my energies. He bought me a Polaroid camera when I was 8 and really encouraged me, always complimenting my work.
Tell us a little bit about your background in art.
I started studying at Jersey City State College [now New Jersey City University] and did the basic undergraduate coursework and then transferred to the Fashion Institute of Technology for fashion photography. I started working at J. Crew before I graduated, and they paid for me to go to the School of Visual Arts to learn color printing and how to retouch photographs. I enjoyed the process of retouching a lot. It may be related to working with the tape because it is also labor-intensive work, focusing on details.
How long have you lived in Jersey City, and how do you feel as an artist living and working here?
I’ve lived in Jersey City for four years. I was born here, but my father moved us to Flemington, N.J. when I was 3. I love living here! I’m so Jersey proud. I’m a shameless Jersey Girl. I spit on the artists that move from Jersey City to Williamsburg! And there are so many other great artists here. My top three Jersey City artists are Stephanie Wright, Orlando Reyes and Hiroshi Kumagai. People should definitely check out their work.
Who are the artists that have inspired you the most?
Mainly fashion magazines and fashion photography have been a really big influence. I like how the images are so beautiful and the fantasy effect that they project for the viewer; the images are an escape. But I also love to do portraits of people I know and love. I like to make artwork that makes me feel good inside.
There is clearly a link between your admiration for fashion photography and your portraits of people.
Yes, I feel as though I see my portraits as being just as slick, just as beautiful as those glossy magazine images. I feel that they pay homage to the sitters.
What are you thinking about for the future in terms of your work?
I am considering doing white tape on white canvas, to concentrate on working with texture and surface. I just got a new studio very close to my home, so now I have room to do more large-scale work too. I don’t know yet where I will show these works or what I might do with them, but at least now I have the space in which to work.
Studio space is so important for an artist. How did your studio space come about?
My friend asked me to share the studio space, and it has helped a lot because it is like getting up and going to work, and I’ve gotten so much done since I got this space.
What is most inspirational to you, the subjects of your works or the ideas behind them?
I think it is a combination of both things. I am most inspired by the idea of making these people look the best they possibly can. I want to present people in a particular way, to make them look as slick as possible.
Let us know what you think: jcmag@hudsonreporter.com.