After completing a BA in Fine Art at Falmouth College of Arts, Katie Jamieson went on to train at RADA as a scenic artist in theatre and film. She believes working in theatre gave her a foundation to explore creativity in a dynamic and multifaceted way. The range of skills and techniques Jamieson acquired during this time has enabled her to develop her own individual style and practice as an artist in her own right. Jamieson’s practice incorporates both painting and sculpture. She likes to move constantly in and out of these two disciplines exploring surface, texture and form. Fragility and the transient nature of life, are two themes that she keeps revisiting whether creating large scale paintings or hundreds of small-scale objects.
‘I take my inspiration from the ex-industrial city of Sheffield. More specifically, the now abandoned buildings that once were used for heavy industry in the steel industry. As I am responding to the undercurrents of architectural influences in the landscape, I also find myself contemplating the psychological effect such an infrastructure can hold. Another area of my practice is creating site-specific installations that consists of woven thread. Each individual weaving is a direct response to my thoughts, feelings and the rhythm of my breath at that particular time. As time passes, shapes, colours and patterns start to emerge expanding and growing into organic structures whose lines and forms are altered and transformed with the introduction of light and shadow. A testament to the impermanence of life and the inevitability of change.
The materials I use are mainly canvas, paper and thread, they have qualities of softness and absorbency and serve to dictate the nature of the marks that are made. I deliberately leave gaps for light to come through, whilst the shadows cast and exaggerate the existing forms of the work, extending the lines of the physical into ethereal’.
Self-taught or art school?
I went down the traditional route of going to art school in Falmouth. This provided an opportunity to solely focus on my interests, benefiting from the skill and experiences of my peers and tutors. However, it is the journey after that, when I had to deal with the hard reality of creating, despite lack of funds, support and space at times that was difficult I went on to train at RADA as a scenic artist in theatre and film. I believe working in theatre gave me a foundation to explore creativity in a dynamic and multifaceted way. The range of skills and techniques I acquired during this time has enabled me to develop my own individual style as an artist in my own right.
If you could own one work of art what would it be?
Ownership is an interesting question. I probably would prefer to have the experience of being a fly on the wall of an historic art institution. A place like the Bauhaus, during its’ heyday in the Weimar Republic. The Bauhaus was a place where modern art was born, lived, breathed and was debated. It stood for innovation and freedom of thought, speech and creativity. I don’t think there could be a price on that experience.
How would you describe your style?
I consider my paintings to be abstract with intense colours being built up in washes and knocked back again leaving partial traces. They are evocative and reflective and I try to achieve a balance between light and dark, density and space, although I don’t like to commit to one particular style rather moving between several. The forms and shapes that arise in my work are often architectural. My installations are immersive and site specific. Can you tell us about your artistic process?
My practice incorporates both painting and sculpture. I like to move constantly in and out of these two disciplines exploring surface, texture and form. Fragility and the transitory nature of life are two themes that I keep revisiting whether I am creating large scale paintings or hundreds of small-scale objects. The process that I use to approach my work is both playful and experimental. At the start of a series of work I will look back through photos I’ve taken in the last couple of weeks, what’s catching my eye, what am I drawn to. Is there a particular colour or shape that keeps presenting itself? I then move into building and drawing quick structures. I try not to put any limitations on where the work can go, keeping it open and allowing the work to take on an organic flow. I always count on some ideas not panning out. Frustrating as this is, it helps me to learn and develop. A particular idea may not flourish but what elements within it do work, I can use to feed into the next piece of work. In this way I am constantly reviewing, reflecting and responding to my work.
Is narrative important within your work?
Yes, although it might not always be obvious in the final piece. I document every stage of my process usually through photos or film. Most of the documentation happens within my studio, playing trying out ideas, quick sketches, obscure structures gradually feeding into larger forms, making for more considered placements of objects, light and colours. By documenting the growth of my ideas, I also feel it gives context to the work which can also help with the narrative even if its obscure to the audience’s perspective. Art is so subjective,it allows a wide range of responses
Who are your favourite artists and why?
Some of my favourite artists are ones that create large scale immersive installations. Artists such as Christian Boltanski and Sara Sze. They both use’ found objects’ such as photos or wooden ladders and incorporate them into buildings or public urban spaces. It is the sheer volume coupled with the everyday normality of the objects used which I find both overwhelming and intriguing. Everything seen has a place a purpose no matter how small. All working together to create an impactful stimulation for the senses. These works ask you to spend time with them, inviting you into the chaos to keeping looking and absorbing.
What or who inspires your art?
I take my inspiration from the northern city of Sheffield. More specifically the now abandoned buildings, that once were used for heavy construction of the steel industry. From the textures and colours that inform the overgrown spaces. I am constantly responding to the undercurrents which a city in transit can hold and the psychological impact that it can have.
Where’s your studio and what’s it like?
My studio is based in Sheffield, Bloc Projects. The warehouse was originally a ‘Little Mesters’ workplace, housing individual workman making cutlery. It is split into units that have no ceilings. This means that you can hear the rest of the artists going about their work. It has an air of being connected and separate at the same time? My space has white walls and a concrete floor. It is pretty basic but I think that offers less distractions and allows me to focus on the work. I have built a paint frame onto one wall of my studio so I can stretch different size canvases.
The wall above my desk has images, quotes, photos anything I find inspirational pinned to it. I try to put up new images every month so there are always fresh ideas in circulation. Natural light comes from the roof and a very rusty window that dates from the 18th century. I feel like I am imbedded in the industrial history of the city and the North in general.
Do you have any studio rituals?
Every morning when I arrive, I love to brew a fresh pot of coffee. I spend 10-15 mins looking at my current work. It’s important to me to sit and really take it in. I often semi close my eyes observing any changes that have taken place in the colour or surface of the painting. After observing I will also run my fingertips over the work. There is something very powerful about touch and absorption of the materials I use. All these rituals go into the mapping out my next move trying to be objective and intimate at the same time. I jot ideas down on the wall or desk. I love to photograph these as reminders to where my head was at. Every time I finish a project, I repaint the walls and floor, to start again with no distractions. Music is really important to me when I am working, so I created playlists. I clamp my oversized head phones onto my head and proceed into the day. I always stand to paint and like to move between the floor and wall.
What are you working on currently?
A site-specific installation that consists of woven thread, again, taking my inspiration from the surrounding architecture. Each individual piece is a direct response to my thoughts, feelings and body. I explore the connections of both my internal and external worlds, noticing the change in rhythm and flow. As time passes, shapes, colours and patterns start to emerge expanding and growing into organic structures. Whose lines and forms are altered and transformed with the introduction of light and shadow which exaggerates the existing forms of the work, extending the lines of the physical into ethereal. A testament to the impermanence of life and the inevitability of change.
Where can we buy your art?
For enquires about my art I can be connected via my website.
