As her painting name 'The Wick Slip', a phrase taken from Emily Bronte's Wuthering Heights may suggest, her works explore the intersection between the visual, literary and phonic arts. In particular, they evoke her interests in how 'noise' is conveyed in technically silent media, how the affectivity of poetry and sound translates into synaesthesia, and how the artist is simultaneously communicated and effaced by the artwork. To this end, a number of her works have a multi-sensory facet - designed to be seen, heard, touched, consumed. Interest in the consumption of the artist, synaesthesia and tangibility has even led her to develop a series of edible artworks, ad hoc and on demand. Many of the pieces are inspired directly by individual poets - particularly John Berryman and T. S. Elliot - and interpretations of their poems.
Working generally in oils, occasionally mixing media with pencil or glass, her painting form three main groups - self-portraits of head and hands, the communicative centres of the body; still-lifes reflecting upon silence,; and abstracts representing sound.
Through profusions of colour in minutiae, combination of abstraction and realism, and multi-sensory dimensionality, her art purposes to invoke the synaesthesia, inadequacy and destruction inherent to attempts at expressivity and affectivity.
Find more of Kate's work here.