1996 Teaching Certification, Moore College of Art and Design, Philadelphia, Pa.
1976-79 Arts Students League, New York, N.Y.
1976 B.A., Hamilton College; art major
1974/78 Residency, Rancho Linda Vista, Oracle, Ariz.
2011 Gross McCleaf Gallery, Philadelphia, Pa.
2009 Jefferson Medical School Library, Philadelphia.Pa.
2008 Gross McCleaf Gallery, Philadelphia, Pa.
2005 Gross McCleaf Gallery, Philadelphia, Pa.
2004 Sueno, Telluride, Co.
2004 Show of Hands, Philadelphia, Pa.
2003 Waco Art Center, Waco, Tex.
2003 Kemp Center for the Arts, Wichita Falls, Tex.
2000 Tyler Museum of Art, Tyler, Tex.
1999 Amarillo Museum of Art, Amarillo, Tex.
1994 Axis Gallery, Philadelphia, Pa.
Imperial Calcasieu Museum, Lake Charles, La.
1991 Cosmopolitan Club, Philadelphia, Pa.
1984 Oni Gallery, Kyoto, Japan.
1980 Amarillo Art Center, Amarillo, Tex.
1993 Finalist, Pew Fellowships in the Arts Disciplinary.
1992-4 Award, Main Line Art Center, Haverford, Pa.
1990 Award, Kyoto City Museum, Kyoto, Japan.
2010 Gross McCleaf Gallery, Philadelphia, Pa.
2006 Carla Massoni Gallery, Chestertown, Md. “Kaleidoscopic.”
2005 Moore Collge of Art and Design, Philadelphia, Pa. “Multiplies: Am I Repeating Myself?” Jurors: Timothy Hawkesworth, Alice Oh, Julia Zagar.
2005 U.S. Ambassador’s Residence. Stockholm, Sweden. “Art in Embassies Program.”
2003 Main Line Art Center, Haverford, Pa. “In Depth.” Jurors: Maida Milone, Bill Scott.
2003 Cheltenham Center for the Arts, Cheltenham, Pa. ”61st Annual Awards Painting Exhibition.” Juror: Dr. Nancy Heller.
2002 Carla Massoni Gallery, Chestertown, Md. “September Gallery Artists.”
2001 The Community Arts Center, Wallingford, Pa. “Abstract.”
2001 Ian Peck Fine Paintings, New York, N.Y. “Hamilton Makes Art.”
2000 Main Line Art Center, Haverford, Pa. “Multiplies.” Juror: Susan Rosenberg.
1999 The State Museum of Pennsylvania, Harrisburg, Pa. “Art of the State: Pennsylvania '99.” Juror: James Mahoney.
1998 The Gallery at Bristol-Myers Squibb, Princeton, N.J. “Transcending the Surface.”
1998 Main Line Art Center, Haverford, Pa. “Works on Paper.” Juror: Anne R. Fabbri.
1996 Gallery of the Art Institute of Philadelphia, Philadelphia, Pa. “Philadelphia Artists for the Homeless.”
1995 Delaware Center for the Contemporary Arts, Wilmington, De. “Return to Beauty.” Curator: Anna Francis.
1995 Attic Gallery, Portland, Ore.
1994 Owen Patrick Gallery, Philadelphia, Pa. “Women's Caucus for Art.” Juror: Dr. Ofelia Garcia.
1994 Stedman Art Gallery, Rutgers University, Camden, N.J. ”National Works on Paper.” Jurors: Faith Ringgold, Elisabeth Sussman.
1994 Main Line Art Center, Haverford, Pa. “Color Now.” Juror: Laura Rosenstock.
1993 Perkins Center for the Arts, Moorestown, N.J.
1990 Kyoto City Museum, Kyoto, Japan.
1990 Mitsukoshi Gallery, Kyoto, Japan.
1990 “Facades Imaginaires.” Grenoble, France.
1987 Cooper-Hewitt Museum Shop, New York, N.Y.
1985 “American Art for the Tea Ceremony.” Duxbury, Mass.
1984 Mercer County College, Mercer, N.J.
1981 American Club, Tokyo, Japan.
1980 Hamilton College, Clinton, N.Y.
1979 Hudson River Museum, Yonkers, N.Y.
Amarillo Museum of Art, Amarillo, Tex.
Beth Israel Medical Center, New York, N.Y.
E. I. Dupont de Nemours & Corporation, Wilmington, De.
Mayo Clinic, Rochester, Minn.
St Rita Hospital, Lima, Oh.
Blank, Rome, Comisky & McCauley, Philadelphia, Pa.
Bryn Mawr College, Bryn Mawr, Pa.
Beneficial Life Insurance, Wilmington, De.
Greenberg, Traurig, Hoffman, Lipoof, Rosen & Quentel, Washington, D.C.
Hackensack Medical Center, Hackensack, N.J.
Center for Bioethics, University of Pennsylvania Hospital, Philadelphia, Pa.
St. Christopher's Hospital for Children, Philadelphia, Pa.
Ronald McDonald House, Philadelphia, Pa.`
Tyler Museum of Art, Tyler, Tex.
Women's Health Research Institute, Texas Tech University, Amarillo, Tex.
The Don and Sybil Harrington Cancer Center, Amarillo, Tex.
Robert M. Rogers Hospice Center, Tyler, Tex.
Memorial Sloan-Kettering Cancer Center, New York, N.Y.
Hospital of the University of Pennsylvania, Philadelphia, Pa.
AstraZeneca Pharmaceuticals, Wilmington, De.
Sozanski, Edward J., “ Looking Eastward.” The Philadelphia Enquirer, June 10, 2005.
Fallon, Roberta. “Kraft Work.” Philadelphia Weekly, January 21, 2004.
Ingals, Hunter. "Kraft Feeds Visual Hunger." Amarillo Sunday News-Globe, November 14,1999.
Chapin, Courtney. "Transcending the Surface." Town Topics, July 15, 1998.
Rosen, Jennifer. "World Travel Influences Artist's Style." Main Line Life. June1, 1995.
Francis, Anna. "Trudy Kraft." Art Matters, April 1994.
Rice, Robin, "Kraft Works." City Paper. March 18-25, 1994.
Larmoth, Jeanie. "Second Wind for the Fan." Town and Country, vol.141 (June 1987).
Louie, Elaine. "Home Beat." The New York Times. Feb. 26, 1987.
Saint-Gilles, Amaury. "Art: People and Places." Mainichi Daily News. May 22, 1982.
technique used for my paintings is a combination
of water- color, sumi ink, gouache, and frisket.
Usually I begin with water-color, freely painted.
I then create a second dimension of pattern by masking
the surface with frisket. Additional structure emerges
through the application of sumi ink. Finally, I use
gouache to augment and adorn, until I have achieved
the desired effect.
paintings begin with a visual idea or feeling. I
find that the first versions of a particular idea
generate their own variations organically, so one
piece builds upon another. Thus, early paintings
in a particular series become important sources for
the paintings that follow.
regard my paintings as a physical expression of the
underlying interconnectedness of all things. Sometimes
I feel as if I am making visible the hidden structures
that lie just beyond ordinary perception. As a visual
artist, I am conscious of a paradox: if there is
a beauty that transcends the senses, our only access
to it is through the senses.
I build my images, I am aware of my indebtedness
to a wide range of cultural traditions. In Japan
I was exposed to time-honored, sophisticated uses
of the decorative arts. African masks, textiles,
and baskets have sensitized me to the interaction
of pattern, surface, and texture. I am emboldened
by the luminosity of color in Thai silks and Indian
have also been visually and technically inspired
by Aboriginal "dream paintings," which
demonstrate the abiding significance of content even
in decorative abstraction. These and other multicultural
influences, which I embrace as part of our common
planetary heritage, continue to nourish my work in
conscious and unconscious ways.