DESCRIPTION:
Oil on board. lead edging
11 x 16 in
2022
BIO:
Katherine was born in Cape Town, South Africa in 1960. She has spent much of her adult life living and working in Kalk Bay, Cape Town. She holds degrees in Fine Arts and English and has exhibited her work extensively, both nationally and internationally.
A painter at heart, her main medium of expression has always been with the materiality invoked by a practice within the medium of clay. The fineness of her porcelain vessels show an abiding love of light and a celebration of porcelain’s qualities of translucence. While ceramics is most often associated with functionality and with sculptural form, she uses conventions of the vessel form as others might use canvas or paper.
She forms and transforms her materials, subjecting the vessels to the heat of the kiln in repeated and ongoing conversations with materiality and within the flux of this process. Fired vessels become receptacles for light, movement and sound. They are often exhibited in installations of related parts, which together allude to the context of the greater whole within nature.
Her work has been shown and collected all over the world and can be found in most public collections in South Africa and in the Museum of Art and Design in New York. She views her work as being essentially collaborative in nature, and her interface with the natural world and with people as being deeply osmotic, relational and potentially transformative.
DESCRIPTION:
Oil on board. lead edging
11 x 16 in
2022
BIO:
Katherine was born in Cape Town, South Africa in 1960. She has spent much of her adult life living and working in Kalk Bay, Cape Town. She holds degrees in Fine Arts and English and has exhibited her work extensively, both nationally and internationally.
A painter at heart, her main medium of expression has always been with the materiality invoked by a practice within the medium of clay. The fineness of her porcelain vessels show an abiding love of light and a celebration of porcelain’s qualities of translucence. While ceramics is most often associated with functionality and with sculptural form, she uses conventions of the vessel form as others might use canvas or paper.
She forms and transforms her materials, subjecting the vessels to the heat of the kiln in repeated and ongoing conversations with materiality and within the flux of this process. Fired vessels become receptacles for light, movement and sound. They are often exhibited in installations of related parts, which together allude to the context of the greater whole within nature.
Her work has been shown and collected all over the world and can be found in most public collections in South Africa and in the Museum of Art and Design in New York. She views her work as being essentially collaborative in nature, and her interface with the natural world and with people as being deeply osmotic, relational and potentially transformative.
