Katy Moran If We Don't Have It You Don't Need It / Panther Cat 2011
Painting directly onto glass, layered above canvas - creating dialogue between the spaces/layers
"Can you control it? Painting's exciting - it's about pretending you are out of control,
trying to introduce accident, chance and things that are unplanned that interest and surprise you more than anything you have consciously or intellectually conceived. Being the only person making the work means I am ultimately in control. I am in charge of every decision made.
Moran’s paintings are expressive, becoming something entirely different from their subjects. Her works are piled with other elements such as
inlays, cut-outs and torn paper. The elements she adds work in layers of narrative."Words from an interview with Phaidon
Karla Black Turner Prize Baltic Centre for Contemporary Arts 2011 (I & II) / Platonic Solid 2009 (III)
Questions of materials to use/experiment with during FMP:
Platonic Solid (detail), 2009, plaster powder, powder paint, sugar paper, chalk, lipstick
Installation work: physically creating lines/space within a pre-existing context- lines that change as the viewer walks around space
"The works in this, her largest solo exhibition to date,
initiated a conversation between material and immaterial forms in a constellation of 11 works (all 2009) that slip deftly between the grammatical structures of painting and sculpture. Installed by the artist in the large spaces of this former brewery, the works were redolent of Arte Povera and Minimalist practices. Black uses common materials in her understated installations, and
regularly appropriates cosmetic substances designed to “improve” the body.
Dominating the large, naturally lit gallery was Platonic Solid, a landscape of plaster powder stretching across the floor.
Usually combined with water to create solid forms, here the material defied its latent function, remaining instead a powdery field dusted with pink pigment and punctu-ated by pools of crushed chalk and lipstick. At one end, the plaster rose into a zigguratlike shape, but with the vulnerability of a sand castle. The work seemed to hold its breath.
Reflected color bounced luminously off the white-painted brick walls of the gallery, as though the room were blushing slightly."
Words from Art In America Lisa Le Feuvre (review of Modern Art Oxford Show)
