Bio: Kenzie Sitterud (b. 1986, Utah, USA) a transdisciplinary artist and designer combining design logic with art’s creative intuition. I moving between sculpture, video, sonic compositions, site-specific installation, painting, and performance.

Sitterud holds a BFA in Communication Design from MSU Denver and is currently pursuing an MFA at the School of Visual Arts (SVA) in New York City. They currently teach in the design department at MSU Denver.

Sitterud has received numerous awards and grants, including support from Colorado Creative Industries, the National Endowment for the Arts (NEA), and the PS You Are Here Grant from Denver Public Art and Recreation. Kenzie’s work has been featured at the Denver Art Museum, Boulder Museum of Contemporary Art, The Crocker Art Museum in Sacramento, California, Museum of Contemporary Art, Denver, Meow Wolf Denver, Breck Create, Platteforum, and various galleries around the art districts of Denver. Sitterud was an Artist-in-Residence at RedLine Contemporary Art Center from 2017-2019.

Artist Statement 3.0

I am a transdisciplinary artist and designer combining design logic with art’s creative intuition. I moving between sculpture, video, sonic compositions, site-specific installation, painting, and performance.

My practice is grounded in themes of queerness, cultural critique, and the observation of the American condition. I often highlight the contradictions within American privilege and the mythology of the “American Dream,” examining who that dream was designed for. My art functions as a site of reflection and resistance, holding space for shifting narratives and social change.

My Untitled paintings on canvas, made with highly saturated colors, symbolism, and hard-edged geometry that reflect the social frameworks and narratives embedded within America’s hidden histories of the American West, and landscapes. My earlier collection, The Queer House (2016-2020), examined queerness in domestic space, exploring the dysphoria of existing within a heteronormative society by designing immersive installations with domestic objects installed at a 90-degree turn and in some cases 180 degrees.  More recent works like To Dusk, 2023, and  From Dawn, (2023), The War Drum, (2024), and HAPPY | sad, (2025, extend this inquiry into the mythology of American expansionism, my ancestral roots in the American West, and privilege during times of war. Through kinetic motion, color vibration, and sonic texture, I construct systems that oscillate between order and disorder, mirroring the instability of the system in which we are actively participating.