Skilled, award-winning artist with a strong background in art history and all aspects of studio art. Konsterlie earned a BFA from Minneapolis College of Art and Design and attended Pratt Institute in Brooklyn New York. His works have been featured in numerous public and private collections including The Aldrich Contemporary Museum, Minneapolis Institute of Art, The Plains Art Museum, Carnegie Mellon, Washington D.C., Sarah Bowen Gallery in Williamsberg, NY, Housatonic Museum, Claire Oliver Gallery, N.Y, and most recently at the Drawing Center Viewing Program in New York City. Konsterlie’s work has been purchased and leased for feature film productions and television productions such as the Blue Bloods with Tom Selleck, and on the ABC news program 20/20 with John Stossel.

STATEMENT 2010 April- present

I like to make transparent painting. To make pattern and champion line. Separate and distill painting. one drip in front of the other. Technical, I was reducing my way of painting by using more line and pattern. Lines have always been a very important element in my work. The black markers brought out a diagram quality in the work. The hand written terms and directional lines became as much of the composition as the subject matter. A visual aid that is ironic because they're mostly unreadable and hard to decipher their meaning. I’ve recently added humorous punch lines and puns to labels because humor can be cathartic.

The drips of paint and spray- paint patterns became a structure for the images to break through, and to be a part of. I use tag sale items and unwanted household kitchen objects to make patterns. Growing up I loved artists who used assemblage as their way of creating. As an adult, I feel the days of Rauschenberg are over. I want to make a “whole” painting, not a composition of parts.

PATTERN BUILDS STRUCTURE and repeating pattern has power. The dots are a reference to Lichtenstein but not specificity for that, is to celebrate the difference between the automatic marks and the gestural brushwork.

Lately I’ve been thinking of how line and color can be two separate things. I’ve always thought color informs shape. But now I see it as a totally different way of expression; an element separate from line. A gestural approach with my drawing, but an analytical mark with painting Line work, or in my case the drips are the painting aspect, and color can introduce pattern another plane of reality a schism in the dynamic of painting.

"Art should be simple and focused. It should have to be made simply,
but with great focus and care."