Kate’s work questions how the purity of substance connects to an authentic sense of the body and being.
The work addresses the physical and mental embodiment of the abject, ‘waiting’ and the female ageing body. Temporality, the progression of past, present and future is inherent, with polyurethane foam discolouring over time, and gravity taking over form and identity as it does with an ageing, sagging body.
An optimistic strength of relinquished control permeates her work. There is a physical transformation over time, obvious process and a psychological intensity that emerges between the creation and the final work.
The language of materials and process have been considered through her research into American sculptor John Chamberlain, his practice and use of polyurethane foam, and her re-reading of Post Minimalist sculpture as embodying the transformation of materials and the human body.
Philosopher Judith Butler’s theories provide the link to explain the fluidity of gender and sexuality over time. Feminist theories of ‘women’s time’ and ‘becoming’ provide hooks to visually represent the ‘unfolding of time’ in Kate’s studio practice.
Kate’s current artworks are of a large scale, utilising ‘queen’-sized foam mattresses. The works embody the ageing female form, and a feminist view of time and gender. In an increasingly heterogenous and fluid world Kate is interested in exploring the relationship between gender and time in the ordinary, mundane world of lived experience.
A graduate of Sydney College of the Arts/Sydney University, BVA 1st Class Honours, Kate was the recipient of the Artereal Gallery Mentorship Award in 2019, the Undergraduate Painting Prize in 2017 and a scholarship to spend a semester in Boston at Massachusetts College of Art and Design in 2018.
As a promising emerging artist, Kate’s work has been included in a number of group shows. Kate has been afinalist in the Ravenswood Art Prize (Emerging Artist), the Women’s Art Prize and the Mosman Art Prize.