Catherine Street is an artist whose work consists of layers of experience. In installations her body is often present amongst projections and audio works, drawings and texts, creating an atmosphere that may be sensual, comical or disturbing. Staccato configurations of sound and light create an intensely sensory experience, whilst at the same time the viewer is invited to contemplate the ambiguously layered content of text and speech works. Meditative, precisely spoken audio recordings include vivid evocations of physical sensations, alongside speculations on the artist’s role and motivations. Rigorously performed actions are documented, and at the same time hints of vulnerability or playfulness appear in handwritten notes. Street is currently devoting her time to the development of a new body of works on paper which explore the sensuality of plant-based forms and the rigour of geometry.
Street pays particular attention to themes of transformation and to the relationship between matter, thought, emotion and sensation. She focuses on bodily experience – the experience of interaction with, on the one hand physical objects and substances, and on the other hand meaning: whether social, political, sexual, spiritual.
Street has recently shown work in the Scottish National Gallery of Modern Art’ s Now
3 exhibition which ran until September 2018. Other recent projects include the solo exhibition Muscle Theory at Glasgow’s Reid Gallery, which incorporated video and sound installation, drawing and live performance, and a series of performative tours for the Edinburgh Art Festival; The Book of Money, The Book of Breath & Sound and the Book of Shock. Street has worked with some of Scotland’s major institutions such as CCA Glasgow, GoMA, DCA, The National Galleries of Scotland, and undertaken a number of residencies for example at Hospitalfield and SSW. She has also performed and exhibited further afield for example in Norway, Germany, Czech Republic, New Zealand and USA. Her writing has been published in various editions including The Burning Sand and Queer Information, the Modern Edinburgh Film School Anthology. A significant part of her practice is dedicated to creative writing, especially through her ongoing collaboration with the poet JL Williams, with whom she has worked since 2012.
photo above: Still from ‘Orchids’, a moving image work shown as part of Now 3