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Artist Kate Scardifield during her research visit to the Scottish Borders

Artist Kate Scardifield during her research visit to the Scottish Borders, as part of the 'Archival Enactments – New Constellations' project. This first part of her vsist took place between 27th June- 1st July and she visited various archives, artists, textile facilities, creatives and museums.
In these images she is at Tower Mills, Hawick giving a talk about her work and the project.

Kate Scardifield is an interdisciplinary artist living and working in Sydney. Her practice can be likened to a process of anatomical enquiry; mining history for intersecting systems and patterns that culminate in re-imaginings of the body, site and space. Scardifield’s works traverse sculpture, installation, textiles, video and painting, often incorporating repetitious iconography and labour intensive techniques. Relationships between the spectacle, the macabre and the divine, in their broadest form, operate as cornerstones in her practice

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_KPG4701.jpg
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© Kevin Greenfield 2016. All Rights Reseved. Kevin Greenfield has asserted his moral right in accordance with Section 77 of the Copyright, Designs and Patents Act 1988.
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Contained in galleries
Artist Kate Scardifield during her research visit to the Scottish Borders,  as part of the 'Archival Enactments – New Constellations' project. This first part of her vsist took place between  27th June-  1st July and she visited various archives, artists, textile facilities, creatives and museums.  <br />
In these images she is at Tower Mills, Hawick giving a  talk about her work and the project. <br />
<br />
Kate Scardifield is an interdisciplinary artist living and working in Sydney. Her practice can be likened to a process of anatomical enquiry; mining history for intersecting systems and patterns that culminate in re-imaginings of the body, site and space. Scardifield’s works traverse sculpture, installation, textiles, video and painting, often incorporating repetitious iconography and labour intensive techniques. Relationships between the spectacle, the macabre and the divine, in their broadest form, operate as cornerstones in her practice