|20/06/19 - 30/06/19
gallery is excited to present work by Katherine Dereli in our first
exhibition to exclusively show paintings. In the past, visitors to
OUTPUT have requested more painting exhibitions so we reached out to
the artist because she demonstrates a strong painting practice that we
feel many could engage with. The artist originally studied Fine Art,
then trained and worked in 3D modelling and visualisation, before
returning to her art practice. She now makes painting, sculpture,
ceramics and drawings. For this exhibition, Dereli presents a selection
of paintings that were mostly produced through the #paintingaday
challenge the artist has been keeping up with online.
approach to painting is informed by her background in drawing as a way
to understand structure, which goes on to influence how she sculpts
too. The artist paints from life rather than photographs because, she
writes, ’I want someone looking at what I do to be closer to the raw
perception. I want what I work on to be more like how things look to me
than how photographs of things look.’ She aims to create artwork that
is loaded with her own subjective experience but also gives enough
space for the viewer to make their own connection with the subject.
|What do you think about our local art scene?
a very difficult era for arts in our country. A lot of the funding has
left the regions and been consolidated in national institutions in
London. My impression is that for historical reasons the large scale
institutions in Liverpool haven't always been terribly effective in
helping homegrown talent and artist led institutions such as the
Independents Biennial have been a bit fractious. On the other hand in
recent years it does seem like the scattered practitioners of Liverpool
have congealed into a genuine arts scene with spaces like OUTPUT
helping to bring this about.
How do you feel about putting your art on Instagram?
old enough that I am in no way a 'digital native' and my artistic
practice is largely about putting globs of physical, not digital,
material together in interesting ways; as a result my engagement with
Instagram is superficial at best. I'm part of a large contingent of
people engaging with technology in a fairly non-standard and
utilitarian way. I certainly use it differently from the core of
important influencers and content creators whose activity is promoted
as aspirational and given a privileged status because of the social
dynamics of the system and the demands of capital. Making art can be a
solitary activity so probably the most valuable thing that Instagram
provides me as an artist is the illusion of working in public. The
small number of personal contacts and artists who do see my work (and
vice versa) are also wonderfully helpful.
What has #paintingaday done for your practice?
a day is a well worn way of improving your work and giving your day
structure. The technology mediated version of it seems to be good for
getting feedback and engaging with global networks, seeing other people
doing the thing you do and being seen by them, but also it places a
tech company in the middle of interactions in a sort of odd way which
is a BAD THING on a macro level. It fits rather nicely as a longer form
activity into the ecosystem of timed challenges which have utility in
driving social media engagement and, at least in the art community,
fostering improvement through creative endeavor eg. #inktober. In terms
of the actual practice I am very happy with the way I've been able to
build up a body of quick sketches often no longer than a few hours
long. It produces a number of duds along the way but also some
paintings that work surprisingly well as finished pieces as well as
providing ideas for large pieces.