Nude on Canvas: How Killa Kate Took Back Her Sexuality
Sexuality has always been controversial, even when “done right”; throughout cultures and eras, this human experience has been shunned, reinvented, hidden, and explored time and time again. There’s no one meaning to it because sensuality will never take a standardized shape and conform. Killa Kate, also known as Kate Ahn, is more than familiar with this concept.
Bodies are introduced in their full glamour in Kate’s art. The painter seems to deeply attach herself to these sultry autoportraits, unveiling her vulnerability as well as her sexuality. Kate told Office Magazine: “It is through these perfected images of my own body that I am finally able to overcome my revolving door of insecurities.” Growing up in a strict and conservative Korean family, the idea of lust and sex was condemned, and this fueled a revolution within Kate as she grew older.
Making her autoportraits come to life in different poses and angles, it’s as if she’s weaving an unconditional tie of intimacy and identity with the painting. Her tasteful fashion style is subtly reflected in her oeuvres, whether it is the bold backdrop or the itsy bitsy lingerie.
The female form has long been disputed, but Kate embraces it wholeheartedly, leaving behind judgment and the male gaze, in a burst of self-love, femininity, and liberation.
Visibly, her favorite medium is on canvas, but Killa Kate’s art its way onto YUME YUME shoes, bedding, and bikinis.
Kate Ahn is an LA girl do-it-all. Her creativity knows no borders, and it is apparent in everything she does. Not only does she paint, but she also has her own sustainable label called Ahn Ahn, which has been sported by Kiko Mizuhara and Coi Leray, and she has modeled for Balenciaga, Moncler, and many big names. On top of that, she was in charge of painting the office of the clothing brand Boby by Raven Tracy.
About the Author:
Mizuki Khoury
Born in Montreal, based in Tokyo. Sabukaru’s senior writer and works as an artist under Exit Number Five.
