Catherine Knight
Catherine Knight is a painter based at BV Studio Bristol and a RWA Artist Network member. Since graduating from an MA in Fine Art at Bath Spa University in 2008 with a distinction, she has exhibited widely in both private and public gallery spaces including Wolverhampton Art Gallery and the Royal West of England Academy. Most notably she was an invited artist at the Discerning Eye exhibition in 2014 and was shortlisted for the John Gingell prize in 2012.
Her work is distinctive for its vibrant use of colour and evocative landscapes based on Iceland and Finland. In 2018 Catherine was one of five artists who took part in the Bristol / Hannover Artist Exchange, which linked up artists in the two cities and resulted in group exhibitions in both.
Works
Isolation Windows
Since the start of the COVID-19 pandemic lockdown, I have been collecting images of people’s windows in isolation. Using social media and connections with friends and friends of friends, I have managed to collect images from across the globe.
In the short amount of time that I have carved out for painting, I have been making small gouache paintings from the photos. It has given me a rhythm and project in this topsy-turvy time. It allowed me to visit other people’s houses, other countries, other continents, albeit in my imagination, and ponder our shared global experience.
Elsewhere is here
‘Elsewhere is here : Anderswo ist hier’, is a pair of exhibitions showing new contemporary works diversely created in the twin cities of Hannover and Bristol.
10 artists in response to the European legacy of Twinning met for the first time in July 2018 for an exhibition at the TURBA gallery in Hannover with the aim of exploring the nature and culture of place, proximity, self and other. The second part of the exchange resulted in a show in Bristol in March 2019.
Inside looking out: Embracing the random links and connections that can be made through social media, I have collected images of windows from people in both Bristol and Hannover. I have been thinking about how we explore the world through our devices and most of these images have been shared with me through my phone. I experimented with painting on both sides of mylar to achieve a kind of glow and created the paintings so that they are the same proportions as my phone screen, with the shiny plastic surface also mimicking that of a screen. You can’t necessarily tell which images are from Bristol and which are from Hannover, but small architectural details might give some clues.
All the lives we ever lived
These paintings are part of an ongoing series based on my Grandmother’s photograph albums.
