an artist’s perspective

With a BFA from the Maryland Institute College of Art and an MFA in Costume Design from the Yale School of Drama. Kate Cusack brings a distinctive understanding of form, movement, and the body to her artistic practice.

Her background in fine art and theatrical design informs work that moves fluidly between sculptural jewelry, wearable art, and large-scale installations.

a practice beyond adornment

Kate's work has been commissioned by Tiffany & Co., Nordstrom, and Fred Leighton, with projects ranging from sculptural window displays to imaginative wearable creations. Her approach transforms familiar materials into sophisticated works of art, revealing unexpected possibilities in the everyday.

exhibited, collected, & recognized

Kate's work has been presented at the Smithsonian Craft Show, the Museum of Arts and Design, and exhibitions across the United States and internationally.

She was an Artist in Residence at the Museum of Arts and Design in New York, and her creations have appeared in fashion and design publications worldwide.

a statement in the spotlight

Her jewelry has also been worn by performers and public figures, including Fergie and cast members of Broadway's American Idiot, reflecting the work's connection to fashion, performance, and personal expression.

selected recognition

Education — Maryland Institute College of Art, BFA; Yale School of Drama, MFA

Artist Residency — Museum of Arts and Design, New York

Selected Commissions — Tiffany & Co., Nordstrom, Fred Leighton

Selected Exhibitions — Smithsonian Craft Show, Montreal Museum of Fine Arts, Racine Art Museum

Selected Press — Vogue Italia, New York Times Style, L'Officiel, Lucky, American Craft

ARTIST STATEMENT

I've always been fascinated by the possibility of seeing something familiar in an entirely new way. Ordinary materials have their own beauty, often overlooked simply because we've become so accustomed to seeing them in a particular context.

I like to look a little closer.

My work explores how these materials can be transformed through line, form, texture, and movement. Whether I'm creating jewelry, sculptural objects, wearable art, or large-scale installations, I'm interested in discovering what a material can become when it's given an unexpected purpose.

The relationship between art and the body has always been an important part of my work. My background in fine art and theatrical design influences the way I approach scale, proportion, and the expressive qualities of an object. Sometimes a sculpture is meant to be worn. Other times, it belongs on a wall, in a window, or within an architectural space.

I'm especially drawn to materials that contain contrasts. Something industrial can become delicate. Something functional can feel glamorous. A simple, familiar object can take on an entirely new identity.

a closer look

a conversation with the artist

  • I've always been fascinated by the beauty that exists in ordinary things. A material might have a very practical purpose, but that doesn't mean its possibilities end there. I enjoy looking at something familiar and imagining what it could become when it's taken out of its usual context.

  • It began with a very long zipper on an old couch slipcover. I noticed the repeating pattern of the metal teeth, the way they caught the light, and how the fabric curved around them. I saw something beautiful in a material that was never intended to be decorative.

    More than two decades later, I'm still finding new ways to work with it. That's what continues to excite me.

  • For me, the connection is the transformation of materials through line, form, and movement. Whether I'm creating something to be worn on the body or experienced within a space, I'm exploring how familiar materials can take on an entirely new identity.

    I love that a piece of jewelry can feel like a small sculpture, and a wall sculpture can become a kind of jewelry for a room.

  • Theater taught me to think about how an object relates to the body, how it moves, and how it contributes to a larger visual experience. Those ideas continue to influence my work, even when I'm creating something that has nothing to do with a stage.

    I'm interested in how a piece occupies space and how it changes when someone interacts with it.

  • First, I want them to be drawn to its beauty. Then, I hope they look a little closer and discover something they weren't expecting.

    There's a wonderful moment when someone realizes what a piece is made from. That little shift in perception is one of my favorite parts of making art.

  • I'm especially drawn to projects that give me an opportunity to explore a new scale, material, or creative challenge.

    I've created work for window displays, theatrical settings, and architectural spaces, and I enjoy the process of developing something specifically for a particular person or place.

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