BA Fine Art Tutor
Central Saint Martins
Central Saint Martins
Katrina Palmer lives and works in London, and teaches Fine Art at CSM. Her work uses found objects and writing in publications, live storytelling and elaborated audio environments, and her recent solo exhibitions include The three stories are flattened (Void, Derry, 2016); The Necropolitan Line (The Henry Moore Institute, Leeds, 2015); End Matter, an Artangel commission combining an audio installation on Portland, Dorset, with a published book and a radio broadcast (Book Works, BBC Radio 4, 2015); and Reality Flickers (MOT International, London 2014).
Other exhibitions include The Weight of Data (Tate Britain, London, 2015); MirrorCity (Hayward Gallery, London, 2014); Dr Sinclair’s Drawer (Flat Time House, London, 2014); From Morn ‘Til Midnight (Supportico Lopez, Berlin, 2013); and Katrina Palmer Presents (Transmission Gallery, Glasgow, 2011).
Palmer’s other publications include The Fabricator’s Tale (Book Works, London 2014) and The Dark Object (Book Works, London 2010). Her writing is also represented in Artists Writing, 2000–2015 (Paper Monument Publishing, New York 2016), The Object: Documents of Contemporary Art (Whitechapel Gallery/MIT 2014), and Modern British Sculpture (Royal Academy of Art, London 2011).
Live storytelling; writing; narrative; sculpture; absence; found objects; conceptual art; power relations; audio environments.
With a particular interest in an expanded conceptualisation of sculpture, I aim to use writing as a means of generating sculptural works. Here sculpture is interpreted as an activity, a way of thinking as opposed to any particular group of objects. By highlighting the role of words, in place of objects, the works typically refer to absence, often employing visceral descriptive language in an attempt to conjure physicality. The Necropolitan Line (2015) facilitates the visitors’ journey through the galleries with guiding structures, illuminations and fragmented stories about absences. In End Matter (2015) a social engagement with the real island of Portland is perceived as a sculptural form, shaped by quarrying and the dynamics of power relations which in turn provide a volatile context for the fabrication of narratives. In my first book The Dark Object (Book Works, 2010), sculpture’s awkward relationship with conceptual art is presented through a student’s carnal fantasies in an ideologically oppressive institution.
Randall MacIver Junior Research Fellowship, Lady Margaret Hall, University of Oxford
Paul Hamlyn Foundation, Award for Artists
Palmer, Katrina (2010) The Dark Object. Semina . Book Works, London, UK. ISBN 978 1 906012 22 9