Slade School of Fine Art University College London
London WC1E 6BT
Included in the British Art Show 1990 my paintings have been exhibited widely in both the UK and internationally.
Dumbpop, Jerwood Gallery, London/Metropolitan University Gallery, Leeds, UK
Another Country: The Constructed Landscape, Lawrence Rubin Greenberg Van Doren Gallery, New York, USA
Taro Nasu Gallery, Tokyo, Japan
Exploration of the Environment-Landscape Redefined, Barbara Gillman Gallery, Miami USA
Shimmering Substance, Cornerhouse, Manchester, and Arnolfini Gallery Bristol
Getting away from it all, Emily Tsingou Gallery, London, UK
Backwater, Laing Art Gallery and Museum, Newcastle, UK
Kate Bright, Casa Centro de Arte de Salamanca, Spain
Bright, New Art Gallery, Walsall
Vitamin Art, Turin, Italy
Represented by Locks Gallery Philadelphia Kate Bright lives and works in London.
Colluding with mass culture the paintings explore the value of the sublime and the illusory aspects of ‘straight’ painting. Extending the landscape genre through this use of unorthodox materials, the collage element (my understudy for the twinkle of frosty snow, white horses crashing on the beach and the lazy ripple of the boating lake) enforces a low grade interactivity onto what might appear to be the static familiar genre of landscape painting.
Highlighting the underlying artificiality of paint the trompe-l’oeil and the figurative, the work confronts the viewer to re-assess the notion of painting and what might make a landscape painting contemporary.
Locks Gallery Philadelphia
Bright is known for landscape paintings that have utilized a range of collage elements: glitter, polystyrene balls, resin, or glass. In a 2001 interview with Stephen Hepworth she stated, “The glitter, from the moment I picked it up, was screaming to be sunshine…” This earnest association with the material, removed from its associations with craft and kitsch, allows her to evoke her own desire for visual surprise within the experience of a painting. The “edge” in Bright’s work is twofold: figuratively as the cusp or failure of realism in painting and also literally in the edges of the landscape where shrubs, vines, and plant life grow wildly. The works constantly remind us of their two dimensionality through their collaged surfaces: a simulacrum of experience beyond painterly representation. The perspective of Bright’s previously exhibited winter paintings gazed down snow-covered paths with distinct vanishing points or looked up at snow covered branches against a blue sky. These new works look downwards, inwards, and through brambles. Visually tangled, they are marked by a more realistic hand but also a disorienting abstraction. The branches become elegant line drawings from afar. Occasionally they are smothered with both the depicted snow and thick layers of Bright’s glitter, but other times left under the weight of their own image with little to no glitter to be seen. Bright’s approach is indebted to the art historical traditions of romantic landscape painting, reflecting the mythic experience and desire for beauty we attribute to the landscape as much as the place itself. Moreover, in an era where art increasingly lives online and through photographs, Bright’s snow paintings defy photographic simplification and must truly be appreciated by the naked eye.
Eleven Gallery London
Group Show at Eleven Gallery. Annual Winter exhibition.
L'Escargot Greek St London
Exhibition of paintings and wall works exhibited at L'Escargot dining rooms. The first French Restaurant in London, L'Escargot was opened in 1927. The building houses its own art collection including work by Dali, Matisse, Grayson Perry, Peter Blake and Andrew Logan, the exhibition set up to augment this collection included works by Phil Allen, Susan Collins, David Burrows, Dan Coombs, Mali Morris, Andrew Stahl, Mike Sliva, Jeff Dennis, Jeffrey Camp.
House of St Barnabus
Group of commissioned paintings for The House Of St Barnabus London. Paintings exploring the theme of wastelands transformed after snowfall. Glitter is used in the paintings as a mimic. Rendering the natural without being of it, an understudy for the twinkle of frosty snow and the transformative physical power of snowfall. The collage element in the work reflects the function of landscape painting, creating an image that is essentially decorative and highlighting the underlying artificiality of paint and the illusionary aspects of straight painting. The paintings provide and equivalency, a referential contact point to real experience.
Handel Street Project, Sicilian Avenue London
"Following the previous Farmers’ Markets exhibition, Handel Street Projects curates Multiple Market, a group show of artists' multiples and editions. The collection of multiples offeres a new take on the gallerys' biannual investigation into connoisseurship, proximity of fine food and fine art and various other aspects of consumption and exchange of ideas. The exhibition presented a great range of produce from over 30 suppliers at the very best prices. The emphasis, as always, will be on freshness, variety and quality as well as value for money so that you have complete confidence in what you are buying. Everything from ‘do it yourself recipes’ to prêt a porter, special commissions and much more at our central London venue in Sicilian Avenue, Holborn – an area with a long history of trade and manufacturing. Selected, high quality produce will come from: Franz West, Susan Hiller, Richard Deacon, David Batchelor, Alison Wilding, Vuk Cosic, Braco Dimitrijevic, Nicholas Pope, Sally O’Reilly, Rasa Todosijevic, Lucy Gunning, Jessica Voorsanger, Zlatan Vukosavljevic, Dan Hays, Amikam Toren, Simon Faithfull, Andy Holden, Lucy Heyward, Mary Anne Francis, John Plowman, Martino Gamper, Mrdjan Bajic, Tahir Lusic, Kate Bright, Jeff McMillan, Alexandra McGlynn, Jason Oddy, Tina O’Connell, Bob and Roberta Smith, Olivier Richon, Jelena Tomasevic, Saso Sedlacek, Stefan Sehler, Gerard Williams, Kirsten Lyle, Loukia Alavanou, Richard Wentworth
Locks Gallery Philladelphia
Solo show of Six large paintings 5' x 7' and 5' x 5' with 7 smaller works exhibited 24" x 24' at Locks Gallery Philadelphia. Paintings were concerned with the depiction of pools and the water's surface and reflections whether from the dark ghostly shadows of an underground lake to the bright dayglo of the reflected artificial light of a competition swimming pool. Using glitter, glass and thick varnish to augment the painting and re-enforce the presentation of illusion. The paintings further the dialogue between the figurative image presented and the expectation and understanding of the audience. IN addition to the exhibition I was invited to talk at Moore College of Art's "In Conversation" programme interviewed by Barry Schwabsky. Also I spoke about the exhibition to freshmen at Tyler School of Art as part of their 1st Semester programme.
Sparkle and Glitter2009
Locks Gallery Philadelphia U.S.
Between The Woods2008
Locks Gallery Philadelphia U.S.
The exhibition Between the Woods was a solo show at the Locks Gallery in Philadelphia in 2008. There were five large canvas’ measuring 5’ x 7’, 3 smaller paintings measuring 3’ x 3’ a catalogue published by the gallery with an essay by Judith Stein entitled Post-Ironic Landscapes. The paintings are made with the addition of glitter collaged to the surface of the painting. Referencing Warhol, RobPruitt and Karen Klimnick’s use of the collaged material they “Collude with mass culture” (Stien) the paintings explore the value of the sublime and the illusory aspects of ‘straight’ painting. Extending the landscape genre and enforcing a low grade interactivity onto what might appear to be the static familiar genre of landscape painting. The paintings confront the viewer into re-assessing the notion of painting and what might make a landscape painting contemporary. The political notion of the landscape underpins the conceptual basis of the work. The physical remove from the land is seen as a gateway for our desire to further embrace it culturally. As compensation for our lost relationship with the great outdoors and the enforced exile of the artist, (removed from the subject in the studio) liberties can be taken in re-making the connection with nature as the subject of the works. This cultural mis-use of the landscape is permitable and liberties can be taken as the addition of glitter, seen as a kitch material used by the hobbyist or for the Primary Class Christmas Project ,is the perfect understudy for the natural phenomenon it represents in the painting. A visual pun and a great mimic. Paintings in this show Grotto 2008 and Copse 2008 were exhibited in 'Water' at the Sun Valley Centre For The Arts Idaho in 2010
Emily Tsingou Gallery London
Taro Nasu Gallery Tokyo
Locks Gallery, 600 Washington Square South, Philadelphia
Kate Bright Accadueo2004
Vitamin, Turin, Italy
Monash University, Melbourne, Australia
Locks Gallery, Philadelphia
New Art Gallery, Walsall
Laing Art Gallery, Newcastle
Getting Away From It All2003
Emily Bingou Gallery, London
Centro de Arte Salamanca, Spain
Turku Art Museum, Finland, toured to Brno House of Arts, Czech R
Conquistadores of the Useless - Art and Mountains2002
Alpine Club, London
Arnolfini Gallery, Bristol
Vilnius Contemporary Art Centre, Lithuania, Museum of Contempora
Holly Snapp Gallery Venice
49th Venice Biennale International Exhibition of Contemporary Art, Gallery Holly Snapp, Venice, 6 June - 25 July 2001.
Emily Tsingou Gallery London
Solo Show at Emily Tsingou Gallery
Exploration of the Environment-Landscape Redefined2000
Barbara Gilman Gallery Miami
There is No Spirit in Painting2000
Le Consortium, Djion
Delfina Project Space London
Another Country: The Constructed Landscape1999
Lawrence Rubin Greenberg VanDoren gallery, New York
Another Country: The Constructed Landscape, a multi-venue group exhibition of landscape drawings and paintings organized by artist and curator Augusto Arbizo. Contrary to the notion of painting en plein air, many of the artists in the exhibition construct their landscapes in the studio and are inspired by markedly different ideas, including memory, science fiction, suburbia, surrealism, popular culture, and the actual practice of painting. What is particularly interesting is their concept of place as a reference for travel, fantasy and escape.
Emily Tsingou Glallery London
Solo Show at Emily Tsingou Gallery London
Jerwood Gallery London, Metropolitan University Gallery, Leeds
The print Snowfall 2013, mixed media, is to be made available to fund arts programmes for patients and staff and other health related charities.
Three Paintings commissioned by the Royal London and St Bartholomews NHS Trust. UP 2010 Acrylic & glitter on canvas, 123 x 153 cm. OVER 2010 Acrylic & glitter on canvas, 91 x 91 cm. HONEYSUCKLE SNOW 2010 Acrylic & glitter on canvas, 31 x 31 cm. All Painting now are part of the prestigious collection managed on behalf of the trust by Vital Arts. The paintings have since been included in the BBC Your Paintings web site, a national archive of works held in public collections. Your Paintings is a joint initiative between the BBC, the Public Catalogue Foundation (a registered charity) and participating collections and museums from across the UK.