Kate McLean
Date of birth
1954
Place of birth
Biography
Chronology
Born: Date, 1954
Where: Oxford England
Emigrated: from South Africa, 1974
Moved to: NZ from South Africa
Education-
DFA University of Auckland 1976
Exhibition-
Fletcher Brownbuilt, Portage, "Take a Seat" (solo exhibition 2012, The Depot), ASP, joint exhibitions Art Station Tutors
Commissions-
Waitakere City Council, Clarkes Lane footbridge tile detail, 2010, in conjunction with Matt McLean
Auckland City, Clay Carpet in conjunction with Matt McLean, 2012-2014
Awards-
Merit award, Portage 2012
Collections-
Portage Collection 2012
Artist statement for the work gifted ..."Time Capsule"
My interests are in ceramics, photography and screen printing. This work combines them as I use clay to print on directly, and to extend printing into 3D. The latter is my biggest challenge, with the image being integral to it.
After printing there are many possibilities, and I can work on the form during a brief timeframe as it stiffens, for it to receive impressions of a different kind- stretching, twisting, folding and scoring- with each form being treated individually.
The imagery contemplates the legacy of another era where I live in Grey Lynn.
Born: Date, 1954
Where: Oxford England
Emigrated: from South Africa, 1974
Moved to: NZ from South Africa
Education-
DFA University of Auckland 1976
Exhibition-
Fletcher Brownbuilt, Portage, "Take a Seat" (solo exhibition 2012, The Depot), ASP, joint exhibitions Art Station Tutors
Commissions-
Waitakere City Council, Clarkes Lane footbridge tile detail, 2010, in conjunction with Matt McLean
Auckland City, Clay Carpet in conjunction with Matt McLean, 2012-2014
Awards-
Merit award, Portage 2012
Collections-
Portage Collection 2012
Artist statement for the work gifted ..."Time Capsule"
My interests are in ceramics, photography and screen printing. This work combines them as I use clay to print on directly, and to extend printing into 3D. The latter is my biggest challenge, with the image being integral to it.
After printing there are many possibilities, and I can work on the form during a brief timeframe as it stiffens, for it to receive impressions of a different kind- stretching, twisting, folding and scoring- with each form being treated individually.
The imagery contemplates the legacy of another era where I live in Grey Lynn.
