Katie GoodwinShop prints
Katie graduated from the MA Fine Art Degree at Wimbledon with distinction, having previously studied BA at Goldsmiths. Katie’s current practice involves reanimating found cinematic ‘moments’. Her background as an editor on visual effects films informs this practice. A film editor’s role is to reorder and transform raw material. Katie continues to use this editorial process as part of her artistic strategy. Most of her source material is cleaned from the ‘cutting room floor’. Recycling waste is a persistent underlying theme in Katie’s practice. She states, “I feel these otherwise lost or discarded moments need to be seen and exposed to an audience. It is hard to describe why I am attracted to particular ‘moments ‘ rather than others but I shall turn to Roland Barthes’ words to help explain this attraction, there is a certain punctum, that ‘stings or pricks me’ me: ‘it animates me, and I animate it’. Rescuing a ‘moment’ from ignorance and reanimating it is a form of bringing it alive – kind of ‘memento vivere’. Unlike film the temporality of viewing is determined by the audience. Katie states “As celluloid succumbs to the pixel, the endless bombardment of the accelerated cinematic image seems ever more intense. Each blockbuster movie seems bigger, faster and more explosive than the last. In my practice I use tools and language of contemporary cinema to make a space in between for what Deleuze describes as the “not-yet-thought”. Dust, light and speed or lack of it are recurrent subjects and themes in my ‘animation-paintings’. Within this whirlwind of imageries’, being given time to really look is a rare thing. It allows the audience to breathe and be seduced by the ‘moment’. My work touches on ideas around entropy and contingency and Nietzches’s concept of eternal recurrence.” Katie’s Jealous Prize print edition is now held in the Victoria & Albert Museum Permanent Print Collection.