As a child, Patricia Kagemoto’s father had a 35mm camera, which he would always take pictures of her and her sister with as they were growing up. She later took a photography course and just loved when the photos would come out in the darkroom; it was like magic in black and white. She eventually bought her own camera and went from there, learning to truly love photography. Ms. Kagemoto began her professional career as a printmaking workshop assistant at the State University of New York (SUNY) at New Paltz in 1974, remaining in this role for one year before moving up the ranks to print shop assistant. She then consulted in printmaking for Communications Village, Ltd., in Kingston, New York, from 1975 to 1984, also teaching arts and crafts with the Neighborhood Service Organization in Poughkeepsie, New York, in 1976. Also at Communications Village, she instructed intaglio and color viscosity printmaking and served as an administrative assistant from 1977 to 1979. She went on to serve as an exhibition auditor for the New York State Council on the Arts from 1984 to 1987 and a gallery assistant for the Watermark/Cargo Gallery in Kingston from 1988 to 1991.
In addition to this tenure, Ms. Kagemoto was a visiting artist at the State University College’s NYS Summer School of the Visual Arts in Fredonia, New York, in 1978 and SUNY New Paltz from 1983 to 1984. A student and printing consultant for a New York printmaking workshop taught by Robert Blackburn in 1984, she also directed the children’s printmaking workshop at the Woodstock Library in 1989. To prepare for her illustrious career, Ms. Kagemoto pursued a formal education at the Syracuse University School of Art from 1970 to 1971 and Hunter College from 1971 to 1972. She then attended SUNY New Paltz, where she attained a Bachelor of Fine Arts, magna cum laude, in 1975.
Ms. Kagemoto always received encouragement from all of her teachers, which helped her a lot and she continued to work at it. In high school, her sister;s friend wanted her to paint a portrait of her friend, which she did. Ms. Kagemoto likes the works from the 60s; she is more familiar with works from that decade than she is with current artists. However, there is a photographer in Los Angeles who does wonderful portraits of people and even though it is different from her work, she does appreciate other people’s styles.
As a solo artist, Ms. Kagemoto has exhibited her work at Communications Village in 1976, the Cinque Gallery in 1978, the Woodstock Library in 1989 and the Watermark/Cargo Gallery in 1991. She has also exhibited her work in various group shows across the state of New York, as well as the Finley Community Center in Santa Rosa, California, in 1997. Outside of her primary trade, Ms. Kagemoto maintains affiliation with the National Museum of Women in the Art and the San Francisco Museum of Modern Art.
In light of her many accomplishments, the New York City Department of Education’s School Art League awarded Ms. Kagemoto the Haney Medal in 1969 and the Alexander Medal in 1970. She was also a grantee of the America the Beautiful Fund in 1976, as well as an Ulster County decentralization grantee of the New York State Council on the Arts in 1989. Notably, she has been listed in the 25th and 26th editions of Who’s Who in the West.
The daughter of Tong Fook and Toy Kuen (Lee) Jow, Ms. Kagemoto is married to her loving husband Haro since 1991, with whom she has raised a beloved daughter, Emerald Wong. In her spare time, she enjoys playing with her cats, going to botanical gardens, sewing and tending to her many houseplants. Moving forward, Ms. Kagemoto plans to continue working in photography. She would like to get back into painting in the future and she always seems to go back to nature when painting.