Kate MccGwire’s artwork presents an alternative world, where known textures are transformed into unexpected places and the organic forms are at odds with their skin. The genetic mutations that are created become a thing of frightening beauty.
Slick – so fluid and organic.
Evacuate. Kate’s work employs a range of binary emotions, from beauty and disgust to fear and allure, so everyone’s reaction is different, guided by their own experiences. “I wouldn’t like to impose my expectations on the viewer experience as I hope the work will inflict its own sense of meaning”. Kate MccGwire, Article from Coates and Scarry, August 2012
Corvid. Bold, sensual, unsettling and imposing. Many of her recent works have no beginning or end, and to me, these forms are like complex infinity symbols and hence imply the never-ending process of evolution and metamorphosis. I would love to see one of Kate’s large pieces like Corvid, on a slow-moving turntable. It would be frightening.
Vice. One seemingly at peace contained, the other writhing and tense.
I draw my own parallels in her work to that of Caravaggio’s glowing, writhing forms and to Patricia Piccinini’s similar obsession with the beauty of genetic mutation.
Lure+Garrulous. sheer beauty.
Garage Magazine invited Kate to act as creative director on a fashion editorial. Garments were by Kim West, Emporio Armani, Missoni and Alexander McQueen with photography by Serge Leblon.
Kate’s work is can be contained, dark, unsettling but exquisitely elegant and sometimes free-flowing.
Slick. Something has escaped. I get the feeling that forms with writhe and pulsate, when I look away.
Urge. A few metaphors go through my mind.
Brood. 2004. One of her most well-known installations in the Saatchi Collection, 23,000 chicken wishbones. How beautiful is repetition of a commonly discarded remnant of our hunger.
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Next solo show, June 20th 2013 in Winchester Museum Gallery, Jewry Street, Winchester.
sources; Kate MccGwire’s website.