凯瑟琳·布朗出生于伊利诺斯州芝加哥，在加利福尼亚州的洛杉矶长大。 自1992年起，她担任肯特州立大学珠宝、金属、瓷漆系主任。 1983年，她在圣地亚哥州立大学获得文学学士学位,1986年在南伊利诺伊卡本代尔大学获得美术硕士学位。 她的作品在美国国内外参展，并被多家出版社出版或评阅，包括《金工匠》《美国手工艺期刊》《新艺术检测者》《纽约时报》《对话》《普实人报章》《旧金山纪事报》。 她的作品总共被汇集收录刊登在十三本书内，同时自己也写过很多评论、文章和手册。她曾五次获得俄亥俄州美术委员会颁发的年度艺术家奖。

在我的珠宝作品中，我经常运用了摄影技术。在最近三系列作品中，我以不寻常的方式运用了三种摄影技术——陈旧的手绘黑白照片、操作的影印图像、数码拍摄像素图像。在所有情况中，摄影化图像处理对于图像外观至关重要，对我的作品本身也意义重大。

参展这系列作品主题为“珍宝”，原型是我的家族流传下的一套美丽收藏，该收藏发现于19世纪末20世纪初。 当我研究这套珠宝及其历史时，我发现了亲族关系和族谱图，并由该套珠宝的传递来标致家族的延续。 我为这些珠宝拍摄了许多照片，并通过丝网印刷过程将其转化为搪瓷贴花纸。 经过我的创作，这些“珠宝”图像以有机“丰满”的形式再展现，就像身体上的标记或纹身。 家族历史也同样的标志记和塑造了我们的身份。

Kathleen Browne was born in Chicago, Illinois and raised in Los Angeles, California.  She has headed the Jewelry/Metals/Enameling department at Kent State University since 1992.  She received her BA from San Diego State University in 1983 and her MFA from Southern Illinois University-Carbondale in 1986. Her artwork has been exhibited widely both in the U.S. and abroad and has been published and/or reviewed in numerous publications such as Metalsmith, American Craft, New Art Examiner, The New York Times, Dialogue, The Plain Dealer, The San Francisco Chronicle.  Her artwork has been published in thirteen books and she has written a number of reviews, articles and catalogue essays for various publications.  She is the recipient of five Artist Fellowship Grants from the Ohio Arts Council.

I have frequently employed photographic processes in the creation of my jewelry work. In the last 3 bodies of work, I have used these processes in very different ways –the anachronistic hand-painted black and white photo for its object quality, the appropriated and manipulated Xeroxed image, and the digitally shot and pixilated image.  In all cases, the photographic image is fundamental to the look and meaning of my work.

The body of work titled, Treasure, is a response to a beautiful collection of 19th and early 20th century jewelry that was discovered after the passing of one of the members of my family.  As I research the jewelry and its history, I uncover filial relationships and family milestones that were marked by the giving of jewelry.  I have photographed a number of these jewels and converted them to enamel decals through the silkscreen process.  These “jewel” images sit of the surfaces of organic “fleshy” forms, I have created, like a mark or tattoo on the body in the same way that family history marks and shapes who we are.