Approved: 29.09.2008

Katherine Hymers

Archived
Approved: 29.09.2008

Hymers work is as much an ongoing exercise in looking and perception as it is a persistent interrogation of time as it operates on that perception.
The work is primarily lens based, in video and photography. Hymers utilises the body throughout the work as a presence and a tool, often exposing herself within the work, choosing to be in front of as well as behind the camera, in an attempt to create

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  • Location: Bury St Edmunds, East
 

Biography

Hymers work is as much an ongoing exercise in looking and perception as it is a persistent interrogation of time as it operates on that perception. The work is primarily lens based, in video and photography. Hymers utilises the body throughout the work as a presence and a tool, often exposing herself within the work, choosing to be in front of as well as behind the camera, in an attempt to create an alternative proximity to reality perpetuated by metaphor in symbols and allegory whilst acknowledging the camera's historical, temporal and perceptual impact on the discourses of representation. However, Hymers is more concerned with exposing the viewer's awareness of his or her own perceptiveness, allowing this to take precedence over narrative or character in the work, instead creating scenes that hover between any specific time, place or genre, where narrative is compressed, compromised or suspended. Hymers images oscillate between the still and the moving. This oscillation brings with it the implications of video and photography's different spatial and temporal qualities; the work operates as an exchange between these categories and definitions, and in the consequent slippage and blur between, she hopes to cause the viewer to question their perception. Whilst Hymers images remain crystallised, they do hold out a promise of narrative. The narrative is mediated by the viewer, as the subtle allusions to unrealised drama, expressed through both image and sound, and their interaction, enable them to transcend the constraints of the photographic frame and access what Barthes referred to as a 'kind of subtle beyond', that imagined space around the image which might contain the theatrical excess absent within it. Temporality as a leitmotif is further heightened by carefully composed images constructed according to a finely tuned emotional and aesthetic vulnerability, using a vocabulary that assimilates formal and structural devices from an array of contemporary and historical languages. The fact that these devices are well known to us, and already part of a common visual culture, is integral to their subversive function within Hymers practice.

CV & Education

Qualifications and training 2004 - First Class BA Hons. Fine Art, Chelsea College of Art and Design, London Solo exhibitions 2012 - Requiem for a Spring Afternoon, BLOC Projects, Sheffield 2011 - Untitled (Auburn), Arena Gallery, Midlands Art Centre, Birmingham Group exhibitions 2009 - *Periphery, YH845 Press & Gymnasium, Online 2009 - Performed, Wysing Arts Contemporary, Cambridge 2008 - Det Andet Rum - Artists Video Programme, NLH Space, Copenhagen, Denmark 2007 - Artsadmin Summers Season, Toynbee Studios, London 2007 - East End Collaborations, QM&W, London 2006 - Kettle's Yard Open, Kettle's Yard, Cambridge Live/Performance 2008 - Closer, ANTI Festival, Kuopio, Finland 2008 - Live Art Falmouth, Falmouth, Cornwall 2008 - National Review of Live Art, Tramway, Glasgow 2008 - Observer Observed, Wysing Arts Centre, Cambridge Artist talks 2008 - How Contemporary Art Came Home, ANTI Festival, Kuopio, Finland Residencies 2009 - Residency, Platform Garanti Contemporary Art Centre, Istanbul, Turkey 2008 - Residency, Kunstwirkstoff, Jerxheim Bahnhof, Germany