Delivery advice for purchasers: Sculptor delivery with conditions dependant upon destination. Installation Advice For purchasers: Place and enjoy
Carbon Capture | 2022
$11,000
| Weight | 66 kg |
|---|---|
| Dimensions | 150 × 20 × 110 cm |
| Filter Medium | Stone, Timber, Steel |
| Location | |
| Editions | Unique |
| Catalogue number | 65 |
| Medium |
Through a range of studies, I’ve been inspired to explore sculpture as a narrative tool. Two of my main activities in life are collecting, and making, things. As a woman and mother, I acknowledge my domestic sphere has informed an arts practice that seems a natural progression for a maker. Carbon Capture presents a 1920s version of those often neglected or unseen family members. Constructed from elements of hardwood timber, coal and steel, long been associated with the Hunter Valley.
Delivery advice for purchasers: Sculptor delivery with conditions dependant upon destination. Installation Advice For purchasers: Place and enjoy
To : Sculpture on the Farm
Carbon Capture | 2022 Sculptor Bio
Catherine Kingsmill
My studies in art have drawn inspiration on my prior studies in the fields of history, textile design and conservation. I moved to the Hunter from inner Sydney and am inspired by the change in environment. First studying at Newcastle University and the Newcastle Art School, I've been encouraged by teachers to explore sculpture through media ranging from fibre to steel. I am an avid collector, and prefer to create sculptures which sit in a group. These little collections of objects will sit patiently, waiting to be discovered by the viewer and imparting a subjective, historical or dreamlike narrative.
My childhood was spent growing up near the Toggerai River on the land of the Bidjigal people of the Eora Nation. I then spent my late teens and twenties on Gadigal Land. My home is now on Wonnarua Land where I have been sculpting since 2010. My work draws on my studies in Australasian & Pacific and public history as well as textile design. I've been a massive collector since I was 12. Increasingly, I find myself representing people through a silhouette of their clothing. My works relate to each as if within a collection, and I like to overlap sentiment or meaning. The medium of each work can be suggested by the site or aspects of the person they represent and is also informed by historical discourse and guided by material culture. When I start a sculpture, I search for the initial component in a scrapyard, on the road, in a paddock or by the sea. Some of my favoured materials are aluminium, bones, tumbled coal, pumice, engineering components, steel, stone, seed pods and shells.
Prizes
My first entry was in Sculpture in the Vineyards in 2013 where I was awarded the Emerging Artist Prize. I have continued my arts practice since then while teaching art at galleries, in my studio and at home.
2013 Emerging Artist Prize, SCULPTURE IN THE VINEYARDS
2013 SINV CESSNOCK REGIONAL ART GALLERY PRIZE
2016 Finalist UNIVERSITY OF NEWCASTLE ACQUISITIVE ART PRIZE
2022 Finalist NORTH SYDNEY ART PRIZE
2023 Finalist FORT SCRATCHLEY SCULPTURE PRIZE
Works held in multiple private collections, The University of Sydney, and Museo Malacologico, Citta di Castello
