Kitty F Davies is an artist, dirt-worker, and professor based in the USA. Read more >
Work
Desertification After Bouguereau
Series, drawings
When I’m This Close
Painting
THE BODY IS ON
Sculpture, installation
Death Ensues
Sculpture, installation
Executrix
Drawing, installation
objet petit aaaaaaaaa
Sculpture, installation
Maximum Black
Series, collage
Portal Drawings
Series, drawings/performance
Telling the Future Through a Portal
Performance
same4same
Sculpture, collaboration
accumulation: homologue
Performance
Not Because I Need You to Know
Coming soon | Series, drawings
accumulation: focet [sic]
Performance, sound
Spot the Difference
Sculpture
FilthyDirty
Coming soon | Series, paintings
lovefight
Coming soon | Series, drawings
fridge drawings
Coming soon | Series, drawings
Exhibitions
Desertification After Bouguereau
2026, McLean County Arts Center
Telling the Future Through a Portal
2025, University Galleries
THE BODY IS ON
2025, University Galleries
a cut ting / inci sion
2023, Julian Gallery
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Telling the Future Through a Portal
2025
Two-person exhibition with Madelyn Turner-Havens. Installed at Julian Gallery, Normal, IL, USA.
About
2023. Gouache, acrylic, ink on paper.
2023. Gouache, acrylic, ink on paper.
All Living Things All In The Water
2023. Gouache, acrylic, ink, spit on paper.
Bad Bad Smells and So Fucking What
2023. Gouache, acrylic, ink, spit on paper.
2023. Gouache, acrylic, ink, spit on paper.
2023. Gouache, acrylic, ink, silicone, spit on paper.
Keep Your Little Body
2023. Gouache, acrylic, ink, spit on paper.
2023. Two glass jars; blood from the artist when they’d been an unraped person for the majority of their life; blood from the artist when they’d been a raped person for the majority of their life.
Dichotomy / daɪˈkɑː.t̬ə.mi /
Greek dícha (“in two, asunder”) + tomḗ (“a cutting, incision”)
a cut ting, inci sion is a collaborative exhibition between Madelyn Turner (she/her) and Kitty Davies (they/them). Their work, both broadly and within this show, navigates the tension of embodiment.
Despite their distinct styles, the artists share a focus on the human body as a medium of exploration. Turner’s abstracted figurative paintings seek to understand her internal struggles with her own body through a hydrofeminist lens, while Davies’ drawings confront the societal perceptions of their genderqueer identity. Both artists surmount their respective existential despair to engage in conversations about vulnerability and the nuances of consciousness-as-flesh. Both leverage irregular media to mirror viscera or contemplate what we consider impure.
a cut ting, inci sion is a surgery dedicated to bringing the inside out. It is the dichotomy of grotesqueness and gentleness. Turner and Davies invite viewers to confront the complexities of corporeal existence and embrace the diversity of human identity. As we traverse the landscapes of abjection, tenderness, monstrousness, and formlessness, we find liberation in our bodies, our selves.




