Focus on printmaker Kati Thamo

Kati Thamo explores the ambiguous relationship between humans and animals. 

‘In Clear Air’ was an instantaneous response to passing through a Karri forest near Walpole (in WA’s south).   A vision of her Book of Nature scrolled through her mind. “Each page is literally an open book”.  There are no humans or words; just nature offering mysterious and mythical meaning. 

In Clean Air

Together the Books form an elongated landscape of flora and fauna from her own back yard and the hills above Melbourne. The Pardalote above, is an example. 

‘Incommunicado’ features poised individuals; a bird sitting on a dog’s head - a relationship with another and the wild. No communication, just looking outwards with absolute independence and integrity. Some of Kati’s work is akin to little theatrical scenarios and tapestries. “We’re all woven together, yet slightly apart”. 

Incommunicado

Unravelling Eden

‘Unravelling Eden’ captures the essence of life and experiences with her children and partner in the Walpole forest in WA’s south. It’s a snakes and ladders view of humans and animals; a story of hits and misses that is not clear cut. 

 Like real life and a bit of her childhood, it’s perfectly imperfect – a tapestry. There’s interplay between the different media used to create her art. Various print techniques, drawings, and embroideries.

‘Night jar’ is a play on words. A Nightjar owl - on a jar. “The eyes are looking out, appealing and asking, ‘What are you people doing with nature and the environment?”

Nightjar

Intimations 4

Walking through a fire-charred landscape she was captivated by the leaves that had curled in on themselves. So, ‘Intimations 4’ acknowledges humans can and do cause damage. “How will the animals survive and cope?”

‘Algebra’ below talks of the relationships and events that defy explanation. “You can’t capture the entirety of something with just an explanation’.

Algebra

Kati exhibits with Mundaring Arts Centre in WA, Beaver Gallery in ACT and PG Print Gallery in Fitzroy. Keep an eye open for her To Be Rescheduled show at The Goods Shed, Claremont.

Things to consider for your next exhibition

Learning how to talk about your art is not easy for most people. If I had a dollar for the times I heard ‘My art speaks for itself…’  

You really need to become comfortable at speaking AND writing about yourself.

If, you’re challenged by writing (and many people are), get a peer to write for you. Create an equitable exchange.

Please remember we’re a clever bunch of people, though. There’s evidence that artists and makers are more academically qualified than all creatives (according to a Department of Culture and the Arts Inquiry into the Visual Arts Sector).

We can unknowingly speak over people’s heads. It sometimes scares them off or makes them think we’re snobbish.

So, I want to encourage you to create an Artist Bio which is not just ready and available for visitors, clients and media, but easily understandable and attractive. Most people are daunted and won’t come up to you and ask you about your work. This is where your Artist Bio comes in.

You can hand them out, make it into a didactic panel for the gallery or studio wall, or include it in your catalogue. Help your supporters by providing a context for the work they’ve fallen in love with. They might own your work for the rest of their lives. So, tell them something about its genesis.

In Australia, one of the first things people ask is, ‘What do you do?’ The next thing they want to know is where you’re from. Are you urban or off the land, near the ocean? Did you come from elsewhere? Does that piece frame how you look at life? Did your family, circumstance, culture or landscape influence how you tell your story and how you see light or choose your materials?

Where did you learn to do this? Are you self-taught, learn at high-school, art school, do lots of workshops…? How does being a practitioner fulfill and challenge you? What’s the attraction of working with textiles, installations, portraits, public art?

Have you won awards or been an artist-in-residence? Are you represented in art collections? What are the positive testimonies or critic’s comments you’ve received?

We’re genuinely keen to learn more about you. So, thanks for your terrific speech and Artist Bio!

PHOTO: Thanks to Brayan Collazo who took this pic of Claire Davenhall and me at Claire’s inaugural ‘Lost Soles’ exhibition at Midland Junction Centre. I had just opened the show.

And, here’s a lovely coincidence. I will be meeting up with Claire Davenhall and attending the opening of her exhibition ‘Lost Soles’ at Bunbury Regional Art Gallery on 11th September.  Her exhibition opens the night before I deliver the two professional development workshops below in Bunbury - at Helena Sahm’s Studio 28 and BRAG.

Glass Half Full

It's a cracking show, really.

The light and space is gorgeous; the whole precinct is lovely, actually.

It's very Kalamunda and the Hills.

Absolutely wonderful to see Glass+, a group exhibition with lots of variety including a much-deserved acknowledgement of Alasdair and Rish Gordon, Western Australia’s Elder Glassies.

So much is right, and bright.

The gallery is testimony to the Shire of Kalamunda 'putting their money where their mouth is’ and building a stylish gallery, café, gift shop and library with real input from the community.

And then, there’s beaut exhibitions embracing emerging, mid-career and established artists.

The whole thing ticks so many boxes.

Inclusive curation, great installation, easy to understand didactic panels, accessibility to the commercial centre of town.

You don’t hear it much, but there’s lots and lots to be said for local government support.

It’s been a huge godparent to the arts.

I say ‘YAY’!

Anne Sorensen
Crossroads
Kiln Formed Glass
Carved Surface
120cm x 40cm
Photographer: Barry Sorensen