Katherine Edney

katherine-edney

Katherine Edney

Animals can swim anywhere, they don't need passports 60cm diameter oil on board

Within painting, there are numerous possibilities for the ways in which a narrative can be compositionally presented in order to communicate a particular emotion or story. Traditional devices including gesture, facial expression, interaction of figures and symbolism establish foundations within the composition to facilitate a narrative response and formulate questions as to the how, what and why. This formal language may also be considered in addition to other concepts surrounding the term narrative itself. The notion of narrative as something which is fluid also encompasses issues of time, movement, and continuity; idea’s which seemingly contradict the static temperament of painting.

Through research for my Master of Fine Arts at COFA, I found that the methodologies of continuous narrative paintings from the Renaissance echoed certain theoretical concerns within contemporary cinematic narratives. While painting and film maintain a relationship to some degree because they are both visual media, (in reference to colour, tone and symbolism), the most interesting parallel is the depiction of time. This correlation between painting and film, where elements of the narrative are compositionally presented in a non-linear way, has had the most important influence over the production of recent work.

Certain structures within film, such as event ‘order’ and sequencing resonate correspondingly to the stylistic approach sustained within my work. This ‘jig-saw’ method presents individual paintings (or canvases) akin to pieces of a story which have been sliced up, and placed back together out of their ‘chronological’ order. These chosen snippets may represent a scene or emotion, and uphold their own position or viewpoint in relation to another image or painting.

These unmatched sequences of images, similar to the unmatched sequences in film, can disrupt the perception and flow of space, and sense of narrative order. When sequences are viewed out of order, the perception of events within the narrative change. The viewer may strive to construct the meaning of the work dependent upon each image’s relationship to another, in turn forming the underlying narrative.

Katherine Edney

Born in Sydney 1983
Lives & works in Sydney

Education

2008 Master of Fine Arts by Research (Painting) College of Fine Arts (COFA), UNSW
2004 Bachelor of Fine Arts with Honours Class 1 College of Fine Arts (COFA), UNSW

Solo Exhibitions

2018 Made in Zim Robin Gibson Gallery
2015 Katherine Edney The Lost Ones Gallery, Ballarat
2014 The In-between Robin Gibson Gallery
2011 Far Away Places Robin Gibson Gallery, Sydney
2009 Fractures in Time Robin Gibson Gallery, Sydney
2008 Hidden Fractures; A Narrative in Time Ivan Dougherty Gallery, Sydney

Selected Group Exhibitions

since 2009 numerous curated group shows at Robin Gibson Gallery
2009 Celebrating Paradise Manly Art Gallery and Museum, Sydney
2008 4th Wirral National Open Art Exhibition Williamson Art Gallery, Liverpool, UK
2007 St. Josephs Annual Art Show St. Josephs College, Sydney
2006 Art on the Rocks Billich Gallery, Sydney
2006 Self Raising: Emerging Artist and Design Award Exhibition Kudos Gallery, Sydney
2006 Art for Art Show St. Augustines College, Sydney
2005 Hatched: National Graduate Show Perth Institute of Contemporary Art (PICA), Perth
2004 5 Emerging Artists Michael Commerford Gallery
2004 Art on the Rocks ASN Gallery, Sydney
2003 Art on the Rocks ASN Gallery, Sydney
2000 Artexpress David Jones, Sydney

Prizes & Scholarships

2018 Highly Commended, Ravenswood Australian Women’s Art Prize (RAW Art Prize) Emerging Artist Category
2017 Runner Up, Hunters Hill Art Prize
2016 Finalist, Kilgour Prize, Newcastle Art Gallery
2012, 2013 Finalist, Portia Geach Memorial Award, S.H Ervin Gallery
2013 Finalist, Black Swan Prize for Portraiture, Linton and Kay Gallery, Perth
2012, 11 Finalist, Brett Whiteley Travelling Art Scholarship, Online Exhibition
2011, 09, 08 Finalist, Metro Art Award, Metro Art Gallery, Melbourne
2012, 07, 06, 05 Finalist, Mosman Art Prize, Mosman Art Gallery
2012 Semi-finalist, Doug Moran National Portrait Prize, Online Exhibition
2008 Finalist, Warringah Art Prize, Art Focus Gallery , Sydney
2007 Winner, Warringah Art Prize
2007 People’s Choice Award, Warringah Art Prize
2007 Finalist, Mosman Art Prize_ Mosman Art Gallery, Sydney
2007 Winner, Warringah Art Prize, Warringah Printmakers Studio, Sydney
2007 Finalist, Willoughby Art Prize, Civic Centre, Chatswood, Sydney
2006 Finalist, Willoughby Art Prize, Chatswood, Sydney
2006 Viktoria Marinov Scholarship for Art at COFA
2006 Finalist, Warringah Art Prize, Warringah Printmakers Studio, Sydney
2006 Finalist, Waverly Art Prize, Waverly Community and Arts Centre, Sydney
2006 Finalist, Sass and Bide Art Award, COFA Space, Sydney
2006 Finalist, Mosman Art Prize, Mosman Art Gallery, Sydney
2005 Finalist, Jenny Birt Award, COFA Space, Sydney
1997 Winner, NSW/ACT category, Telstra Phone Card Design Competition

Bibliography

Debutantes; Katherine Edney Australian Art Collector Issue 51 January – March 2010
New Sculptures and Fractures in Time Spectrum: The Sydney Morning Herald May 2009
Katherine Edney the (sydney) magazine: The Sydney Morning Herald May 2009
Hands on for inspiration Manly Daily June 2009
Wirral Society of Arts Open Art Exhibition Wirral Champion July 2008
Rich body of work impresses Manly Daily June 2008
Success vindicates the choice to paint Manly Daily July 2007
Warringah Art Competition The Splash! July 2008
Grade Expectations Eye 4: Arts Xpress Magazine June 2005
Shape Shifters Arts: Weekend Australian June 2005
Katherine Edney COFA Hatched 05 National Graduate Show Exhibition and Symposium Catalogue May 2005
A Brush with Fame Arts: Manly Daily May 2004
Artexpress Manly Daily 2001
Telstra Got Message Manly Daily 1997


website design all-sorts website designs for art galleriesall-sorts websites