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Artist Exhibitions:
Solo exhibitions
2008 Frou-Frou, Unit 9
Gallery, Bradford
2007 Poison, south Square
Gallery, Bradford
2006 AtoB, Gallerija Celica,
Ljubljana, Slovenia
Group exhibitions
2008/9 Projekt Dodai, Skuc
Gallery, Ljubljana, Slovenia
2008 Ship of Fools, Yarra
Sculpture Gallery, Melbourne,
Australia
2008 Flesh, Yorkshire Craft
Centre, Bradford (prize
winner)
2008 SCOPE ...
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Artist Galleries:
Coming Soon!
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Artist Reviews:
As my mother would say:
Morwenna Catt is "not a happy
bunny." Nor are the
embroidered cloth rabbit
sculptures she makes in order
to 'take recognizable
artefacts and tales from
childhood and subvert them
into something malformed,
battered and bruised; to evoke
that darker side of childhood
experience.'
Like the ...
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Collections:
Coming Soon!
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Commissions:
Public commissions
2008 Shipley Town Centre Stone
& Ironwork Sculpture, Shipley
Council, Shipley Town Centre
2005 'Home Is ....' Textile
Project - Cabinet of
Curiosities, English Heritage,
Lincoln
2005 With This Pencil I Can .
. Outdoor Table Commission,
Bradford Museums & Galleries,
Brackenhall Countryside
Centre, Baildon, Bradford
2003 City Centre Banners,
Lincoln City Council, Lincoln
...
Further Information
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Artist Statement for Morwenna Catt
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Childhood is a recurring theme in my work, I try to dispel Fairy Tale mythologies, stripping back to the bare bones of experience and uncovering some kind of underlying truth using personal narratives alongside subverted imagery. I use the familiar and the nostalgic as a trigger, but disrupt the reading. In recent works the family unit is transformed into animals, either drawn, painted or constructed as 3D textiles; malformed, battered and bruised to evoke the darker side of family life. I am preoccupied with our relationships to trigger objects, memory, nostalgia and psychosis.
My work is very ‘hand-made’ – it can look laborious and clumsy, scrawled with hand written text and the faded words from an old ribbon typewriter. I want the work to have a wounded ‘authenticity’ and try to use evocative image and text/process to tap into peoples collective memory. The type from my old battered type-writer reminds me of discovering my mothers secret poems. The pattern of simple animal shapes on the Phrenology III head is taken from a 1970s toy pattern book and has that bitter sweet nostalgic quality. Modern life requires that everything is clean and shiny and safe, kitemarked and numbered, my work is the antithesis of this – its slightly grubby, pitiful in its hand-made grotesqueness, the threads hang loose and needles project dangerously from stitched mouths.
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contact artist
