08 September 2017 - 07 October 2017

Kate Smith, An Impression of an impression


Kate Smith's An Impression of an Impression, acknowledges the visual references to Western art history that are imbued within her work. Her paintings operate as personal interpretations of both her rural surroundings at her current studio in Mangoplah, and the art historical context that inescapably makes an impression on her practice.

This new body of work sees a pared back approach where thick swaths of paint and collaged objects are replaced with deliberate line work, and blocks of solid colour foregrounding gestural brush strokes. They read as drawings, colouring in - doodling with a brush - yet a sophistication of composition runs steadfast.

Born Cootamundra, New South Wales in 1980, Smith currently lives and works Mangoplah, Australia. Smith was a studio resident at Gertrude Contemporary, Melbourne, between 2010 and 2011, and at Artspace, Sydney, in 2011. Selected individual exhibitions include: A Country Practice, curated by Francis Parker, Monash University Museum of Art, Switchback Gallery, Gippsland, 2013; Deep Privacy/Convex, Sutton Gallery, 2012; Teenage Boi Boi Sounds, Sutton Gallery, 2011; Dumb Sampler, Studio 12, Gertrude Contemporary, Melbourne, 2011; Gesturing to the Chilli,db, Sydney, 2011; Minnie the Moocher, (in collaboration with Alex Vivian), The West Wing, Melbourne, 2011; Monkey makes a painting,Y3K Gallery, Melbourne, 2010; 'You're the C**T, Donut', Ocular Lab inc., Melbourne, 2010; and *tastes self*, (in collaboration with Alex Vivian), Hell Gallery, Melbourne, 2009.

Selected group exhibitions include: Painting, More Painting, ACCA, Melbourne, 2017; and in 2013 Melbourne Now, National Gallery of Victoria, Melbourne; Do sumn', TCB, Melbourne; Collage: The Heide Collection, Heide Museum of Modern Art; Like Mike, Linden Centre for Contemporary Arts, St Kilda; Regimes of Value, Margaret Lawrence Gallery and The Substation, Melbourne.

Artist's profile

View artist profile: Kate Smith

Artwork from exhibition by Kate Smith,