“I live and work in London. Studio bound in the city has led me to make work that reflects desire or longing for contact with the natural. The new paintings made recently hint at our use and abuse of the natural, our limited understanding of its systems, our love of its balm and the endless limit to our imagination.
The places depicted are examples of liminal places, the edges of more important space. The hedges Lopeways and sides of tracks, scrub between fields. Escapees from the farmed environment. In his book The Hidden Life of Trees, Peter Wohllebn references Dr Suzanne Simard’s research into the Wood Wide Web – the communication system that exists between trees in undisturbed woodland the care and relationship that exists between them. Knowledge of which changes in the most fundamental way, our pre-conceptions of these ‘dumb objects’.
It seems that the further we remove ourselves for nature physically the more we wish to embrace it culturally. The landscape as subject can be used by artists to reflect a state of mind or sense of place without losing its own identity.
The depiction of the natural whether by way of fantasy, myth or the picturesque is allowed in the studio as compensation for our lost relationship with the great outdoors. The rejection of the romantic and the picturesque is key, I am aware of the subtle nature of the wild and the contrasting ideas of land as scared, playground, resource or balm.”
Bright studied at Camberwell School of the Art and Goldsmiths College and is currently a lecturer at the Slade School of Fine Art at the University College of London. The artist has had solo exhibitions at the Centro Internacional de Arte de Salamanca, Spain; The New Art Gallery Walsall, UK; Vitamin Contemporary Art, Turin, Italy; and the Laing Art Gallery, Newcastle, UK. Bright was notably included in the British Art Show in 1990, a major traveling survey exhibition showcasing contemporary art held every five years in the UK. Recipient of the Lorne Award 2017 she is currently represented by Locks Gallery US.
2012 Kate Bright: In Deep, Locks Gallery, Philadelphia, PA (solo) 2008 Locks Gallery, Philadelphia, PA (solo) 2007 Emily Tsingou Gallery, London, UK (solo) 2005 Locks Gallery, Philadelphia, PA (solo) 2004 Vitamin Art, Turin, Italy (solo) 2003 Post Flat, New Art from London, Locks Gallery (cur. Barry Schwabsky), Philadelphia, PA 2003 Tailsliding (cur. Stephen Hepworth), Bunkier Sztuki, Poland 2003 New Art Gallery Walsall, Walsall, UK (solo) 2003 Getting away from it all, Emily Tsingou Gallery, London, UK (solo) 2003 Backwater, Laing Art Gallery and Museum, Newcastle, UK (solo) 2003 Casa Centro de Arte de Salamanca, Salamanca, Spain (solo) 2002 Shimmering Substance, Cornerhouse, Manchester, UK 2002 Shimmering Substance, Arnolfini (cur. Barry Schwabsky), Bristol, UK 2002 Art and Mountains: conquistadors of the useless (cur. Bruce Haines), The Alpine Club, London 2002 Tailsliding, Vilnius Contemporary Art Centre, Lithuania; Tallin Museum of Contemporary Art, Estonia; Brno House of Arts, Czech Republic; Belgrad Museum of Contemporary Art, Yugoslavia 2001 Emily Tsingou Gallery, London, UK (solo) 2001 Tailsliding, Bergen Centre of Contemporary Art, Norway 2001 All of my Heart (cur. Stephen Hepworth), Arte e Personae, Florence, Italy 2001 Surface Tension–New British Painting, Holly Snapp Gallery, Venice, Italy 2001 Exploration of the Environment-Landscape Redefined, Barbara Gillman Gallery, Miami, FL 2000 Salon, Delfina Project Space (cur. David Gilmour), London, UK 2000 There is no spirit in painting, (cur. Eric Troncy), Le Consortium, Dijon, France 2000 Wooden Heart, avco, London, UK 1999 Emily Tsingou Gallery, London, UK (solo) 1999 Another Country: The Constructed Landscape, Lawrence Rubin Greenberg Van Doren Gallery, New York 1999 Taro Nasu Gallery, Tokyo, Japan 1998–1999 Dumbpop, Jerwood Gallery, London/Metropolitan University Gallery, Leeds, UK 1997 New Paintings, Habitat, Kings Road, London, UK 1993 Union Street Gallery, London, UK
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