For Kristin Baker the act of painting is analogous to speedway racing: the dual pursuits for the pinnacle of excellence conjoining as parallel “coliseums” of chance and glory. Drawing relations to the commodified spectacle of sport, Baker’s Kurtoplac Kurve replicates the industrial design of the racetrack in its making. Rendered on panels mounted on a bleacher-like support, its curved structure mirrors a hairpin turn. Built up in a series of stencilled layers, Baker rarely paints with a traditional brush, but rather a combination of spray gloss and spatula sign-painting techniques, mimicking both billboard advertising and body shop finishes; her resulting abstraction draws reference to both modernism and consumer spectacle

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