Plane to Line to Point: Ben Cove & Kate Terry

PLANE TO LINE TO POINT Ben Cove & Kate Terry

24 April - 23 May 2015

dalla Rosa Gallery | 121 Clerkenwell Road | London EC1R 5BY | dallarosagallery.com

BEN COVE & KATE TERRY: PLANE TO LINE TO POINT 24 April – 23 May 2015 “As we gradually tear the point out of its restricted sphere of customary influence, its inner attributes which were silent until now - make themselves heard more and more. One after the other, these qualities - inner tensions - come out of the depths of its being and radiate their energy. [...] The dead point becomes a living thing.”

(Wassily Kandinsky, Point and Line to Plane, Solomon R. Guggenheim Foundation, 1947) Ben Cove and Kate Terry have been unintentionally collaborating to shape this two-person exhibition, their practices complement each-other so well that one would assume some kind of exchange has taken place, while in reality they worked almost unaware of each-other. Powdery paints and neon-bright lines are the building blocks for both artists: Cove mixes them with a juxtaposition of almost recognisable elements often borrowed from design and architecture, whereas Terry defines delicate geometries with painted wooden structures supported by a system of threads.

The starting point for Cove’s work – both paintings and sculptures – comes from a bank of historic photographic images from a variety of sources: architecture, furniture, artefacts, interior spaces and depictions of the body. Nothing is lifted directly, but much is insinuated or suggested. In a series of micro essays George Vasey considered Cove’s paintings and concluded that they “invoke a particular strand of Modernist Abstraction. If Modernism was a response to its own era’s technological advancements (aviation, industrialism, and the machine) then Cove’s paintings are at once heraldic and diagrammatic, provisional yet monumental. We could be looking at an unbuilt home, a logo for a multinational corporation or simply two lines intersecting within a nebulous environment.”

Kate Terry’s practice encompasses sculpture, installation and drawing, exploring the relationships of points, lines, angles, and forms from their defining conditions. She employs utilitarian materials with economy and restraint, often disrupting our perception of depth, and of shapes and structures in space. Terry’s sculptural works consider concerns of weight and presence with direct emphasis on their physicality. These geometric abstractions are reduced to succinct lines and planes of colour, and are often physically tethered by Terry to the spaces they occupy; tied by threads or propped, wedged and suspended from walls and corners.

After studying Architecture in Nottingham Ben Cove moved to London to study Fine Art at Goldsmiths. He has exhibited nationally and internationally, recently he was selected for the London Open 2015, on show at the Whitechapel Gallery from July to September. Kate Terry studied Fine Art and Sculpture in England and Canada, she is currently an associate lecturer in Fine Art at Camberwell College of Arts and has shown extensively in the UK, Europe, and Qatar.

previous page: Ben Cove, Amulet (2015), detail, acrylic on panel, 40 x 40 cm opposite: Kate Terry, Series I no.8 (2014), painted wood, thread, pins, 65.5 x 59 x 57.5 x 2 cm

Q&A WITH BEN COVE AND KATE TERRY Giovanna Paternó: The introduction to the text for your two-person exhibition ‘Plane to Line to Point’ is a quote from Kandinsky’s essay Point and Line to Plane which describes the dead point becoming a living thing when its inner tensions are activated. You both use geometry as a system to construct and frame your work, what is the starting point for a sculpture, an installation, or a painting?

Kate Terry: My thread installations begin from examining a space, working in the space is the primary starting point, I base the installation configurations on specific architectural details such as doorways and windows, mirroring or following them with horizontal or vertical lines of pins that make architectural arcs and canopies of threads within the centre of a space. I am interested in the viewer’s experience of a space, and how such a delicate and almost invisible material can command behavior or a division of space. I try to make the viewer work a little harder so it’s not a completely passive experience, the work can almost be confrontational in its occupation of a space, but through the most minimal of means.

I make initial drawings for larger projects or commissions but it often changes when I’m within a space, I’ve worked abroad a lot where site visits aren’t possible, and although floor plans, images and videos are essential in the planning it doesn’t compare to being in a space.

While I construct an installation and after it’s completed I make a lot of quick sketches of the shapes and intersecting points of the thread forms in coloured pencil. I’ve become very interested in these overlapping points and compositions that define geometric shapes in space, viewing them as compositions much like a painter would.

Considering these patterns and structures has led me to explore these geometric forms as objects in wood. The sculptures come from a lot of experimentation and play in the studio; I mock up forms quickly first and test out balancing objects, and seeing how they work in space. The final sculptures I either construct from wood and paint or I get them fabricated by a local company in steel, and I like that although the steel ones are not made by my hand, you can still tell they are handmade.

Ben Cove: I have a bank of images, primarily of things designed to house, clothe or contain the body - buildings, interior spaces, furniture, fabrics etc, largely, but not exclusively, from the first half of the twentieth century. In addition there are artifacts or sculptures here too but mostly from nonwestern origins. These images are selected either because they have an unusual look to them, and/ or because there’s something about them I love. I do not draw or lift from these images directly, but I frequently look through them.

When I have an idea for a new painting (which often comes from something in a previous work), I make very quick, small freehand sketches, maybe only 5cm square, just to put a basic idea down.

I then start to draw onto a panel, very much in the way architects or designers used to draw, with compasses, set squares etc. The paintings I now make undergo quite a lot of change, so what I intend opposite: Ben Cove, Dissenter (2015), detail, acrylic on panel, 50 x 62.5 cm

at the start is often barely visible when the work is completed. I have tried to draw out final images but they never seem to work. Changes have to be made, often quite drastic ones, partly so that the image retains some semblance of immediacy, even if it has taken a long time to complete. Sculptures and installed works are slightly different, they’re usually drawn or mocked-up on a computer after initial sketches in order to make more precise scaled drawings which may end up being passed to a fabricator. There is usually less room to maneuver with these works due to logistics and costs so more pre-planning is required.

GP: There is a distinct reference to Modernist geometric forms, where do you see your work in relation to this history? Do you think the use of non-organic, synthetic colours is one of the ways of breaking from this tradition?

BC: Modernism, particularly within architecture and design, plays a big role in my work. An initial education in architecture (which had a largely Modernist slant) explains a lot of this. I have an affinity with much from this era, but increasingly with things that sit on the periphery, the slightly clunky, those things that seem to take an unexpected diversion from any attempt to pin down rules or stylistic repetition. Crucially, the appeal of this era for me, is because within the stuff that was made, there is a clear sense of endeavor or risk-taking and I see this embedded in the visual languages that developed from it.

Arguments have been made that we still live in the Modernist era and that notions of PostModernism etc are premature, due in part, as a result of a much faster paced understanding of global output. Wherever we are, I feel there is still a lot to be gained and understood from material from the first half of the twentieth century and my treatment of it comes from the perspective of someone who lives in quite a different world to the one that existed at the time when was Modernism first developed.

The use of colour in my work is perhaps a way of breaking with this tradition, less primary and more tertiary. The relationship of colour to personal tastes seems inseparable. It can be easy to settle into a tasteful palette but I want the work to have an edge that induces some sense of disharmony or unease and so often throw in new colours, as much to cause a reaction in myself as any viewer.

The same goes for any other formal elements in the work. Before this show, I was largely unaware of Kate’s work and when we began the install I was really surprised by some of the similarities, particularly the colour palette. As the press release says, it could appear that we sat down and conceived works to be paired together. The frames in Kate’s work with their bright threads are almost mirrored in my more recent paintings in the show.

KT: Modernism is a really rich historical reference point for me, and like Ben, the furniture design and architecture of that era holds particular appeal. I’ve always been fascinated by Modernist architecture, in particular architects such as Mies van der Rohe and Le Corbusier. It’s interesting to hear that Ben previously studied architecture, and how that informs the structures within his paintings now. opposite: Ben Cove’s studio in Hackney, London (March 2015)

I’ve always cited Minimalism as a strong reference in my practice, and look to artists such as Sol LeWitt, Fred Sandback, and Donald Judd. To side with Hal Foster, and his positioning of the role of Minimalism as both completing and breaking with Modernism chimes a bit more with my work, the site over the image, physicality over heroism. I’m interested in how my work can refer to this history while drawing in other reference points: craft, colour, taste, urbanity. I embrace the handmade within my work, it has a strong relationship to craft and I choose to hand paint my objects with housepaints, so it doesn’t have the industrial slickness of minimalism.

Colour is a significant part of my practice, and I think the use of colours in both mine and Ben’s work could be seen to break with this tradition. I know Ben mixes his colours himself, while I choose household paints and material in their ‘pure’ artificial form. What I found surprising was how similar our colour palettes are when we brought the works together in the gallery. In this exhibition my sculptures are painted with flat Farrow & Ball house paints that give them a chalky matte surface almost like a drawn line; these painted structures reference both domestic interiors and the properties of objects in mathematics.

I’ve always been drawn to the brightest colours, and most synthetic of colours, I think Ben and I share a love of neon paint. I am interested in notions of good taste and class when it comes to colour: Martha Stewart’s jadeite green, Easyjet orange, Farrow & Ball heritage colours of ‘Arsenic’ and ‘Charlotte’s Locks’, and Juicy Couture pink. Using colour brings in all sorts of other cultural and commodity associations and breaks with the self-referentiality of modernism.

GP: What is the impact of your education, studies, and residencies on your recent and current work?

KT: It’s been a while since I left art college in 2002; I first did a BA in Sculpture in Manchester, and then did an MFA in Canada which was a really fascinating environment to work in. At the time, the art market was pretty small, with many people leaving for nearby New York, but the abundance of funded artist-run centres and support for artists to make ambitious and more risk-taking work allowed me to try out more site-specific and ephemeral works. I made my first thread installation there in 2001. My work has shifted a lot over the years, but the cornerstones of my practice really began there.

I’ve never done an official residency before, but my installations mean I often spend a week installing in a gallery in a different country which gives me quite a unique sense of the gallery, they’re like mini residencies and I feel like I get to know the people and space working intensively in that way.

I’ve become quite accustomed to arriving off a plane with just a suitcase full of my materials and my trusty tools, there’s an almost nomadic element of arriving with just a bag to make a large installation that perhaps comes from being a temporary resident in Canada, knowing I’d have to pack up work again. There’s an economy of means to it that I like.

BC: It’s hard to answer this briefly as they have obviously had a very significant impact on recent work. As I mentioned earlier, my architecture degree was very significant and I continue to research opposite: Kate Terry’s studio in Hackney Wick, London (March 2015)

around this, particularly in terms of the relationships between that which is physically constructed and the constructed nature of historic and personal narratives. The fine art undergraduate and masters courses I chose were both selected partly as they weren’t media-specific and this is important to my practice, I intend to continue to use whatever media suits my thinking, and I try and maintain an open mind about this. I began painting again (after about a 4 year break when I made work in other media) during my MA and think that the work I’ve made since then is really the same project. My MA freed me up from feeling I needed to use such a direct form of appropriation and to let the work speak for itself, which has been very liberating.

GP: You have both worked on site-specific projects, how does the nature of a space influence the work?

What was the most challenging experience is this sense?

Kate Terry, Series VII no.1 (2014), detail, painted wood, thread, pins, 84 x 58 x 2 cm

BC: I believe that I work best when I have a specific space to work with. The work isn’t ever completely site-specific, it is made to be reconfigured in other spaces, but I enjoy working within the parameters of a given space. The work I made for Vernacular Hangover, my last solo show, was conceived very much with the rear gallery of the Acme Project Space in mind. The two converging walls lent themselves very well to the large photographs I used (due to the almost mirrored nature of the images) and I enjoy having the work occupy a space in a particular way.

The recent installation I made for Airspace Gallery was also configured to take advantage of the high space meaning I could make work that was almost 3.5m high. This piece was also devised so it could be reconfigured quite differently to fit other spaces and in fact will be installed in quite a different manner next time it is shown in the summer.

The most challenging things in these works are often that there is no way to fully test them out before they are hung - usually just prior to when the show opens. This often means that alterations need to be made last minute, though I often think that these more impulsive decisions are frequently more successful than those that can suffer from over analysis. Sometimes I have a clear idea for months in advance but find it doesn’t necessarily work in the hang and have taught myself to try and embrace last minute changes rather than settling for the safer option.

In terms of this show, the install went very smoothly, there were obvious connections between certain works of ours and Giovanna’s insight into how the space functions meant that there seemed to be very clear solutions to placing the works.

KT: I’m interested in how people behave and move around certain spaces, and the fallacy of the gallery space as a perfect ‘white cube’, there are always errors and challenges within spaces that I really enjoy and try to respond to with my work.

A few years ago I was asked to build an installation in an old brick-walled warehouse space, and because I couldn’t pin into the walls in the way I normally work, I decided to construct a large wooden structure that created a skeleton frame of a room in which to then thread up. Once I’d built the frame, I went about making the installation as usual, but I realised the tension of the threads was so strong that it was enough to bow the wood.

Around the same time, I made a sculpture of a trapezium with symmographic threads inside, similar to the hexagon piece ‘Series V no.3’ in the exhibition, and the tension of the threads actually twisted and broke the wood joints. After getting over this frustration, I started to explore the strength of the threads as something positive, and using this seemingly fragile material to suspend and hold up wooden geometric objects, as with the three suspended works in this exhibition.

Installing this show was surprisingly easy, as Ben said, there were certain works that paired well together, or needed to be separated, and we placed the works in discussion with Giovanna quite early on. I was keen to activate the forgotten parts of the gallery where work isn’t usually hung, very high up the wall, or lower than eye level, so the viewer’s eye is moved up and around. I wanted the work ‘Series I no.8’ (suspended yellow triangle) to be installed on an edge of the wall, near the entrance, so it almost acts like shop signboard.

GP: Kate your practice includes installation, sculpture, and drawing, while for Ben it’s painting, sculpture and installation - what is the relation (if there is any) between your work in different media?

KT: My installations are dependent on a given space to make them, rather than being an on-going studio practice, so the installations tend to be bigger irregular on-site projects. My drawings operate as ‘plans for’ installations that originally began as sketches to work out and understand

opposite: Ben Cove, Head Construct (4), 2013, detail, oil and acrylic on panel, 40 x 40 cm

Plane to Line to Point, installation view at dalla Rosa Gallery (April 2015)

a space before embarking on an installation, but increasingly I became interested in the nature of architectural and perspectival drawing in itself. I like how drawing can allow me to construct impossible spaces, and explore unfeasible installations. My sculptures have really grown out of my installations; while my installations demonstrate a simultaneous reliance on and an interruption of architectural space, my sculptural works consider concerns of weight and presence with direct emphasis on their physicality. In all of my works, the use of line, geometry and colour marry these different avenues.

BC: The work in different media has increasingly fed into one another over recent years. The paintings look more like the sculptures and the sculptures more like the paintings. I have always felt that paintings are objects, they have a depth and weight when you’re making them, so it seems natural to combine them at times with more three-dimensional elements. The sculpture and installation work are often quite flat and usually relate closely to the wall and floor which comes, I think, from looking a lot at architectural drawings, images which are both diagrammatic and pictorial, they give a sense of depth or space whilst retaining a viewpoint which does not occur in the everyday experience of looking at buildings.

In recent years I have begun to use found images again in the installed work as a way of testing out what happens when a very different language is introduced. As yet this hasn’t appeared in the paintings, but I have been thinking of how/if this might work. I never really want to be someone who exclusively makes paintings, I find it somewhat limiting, and I feel that work in different media retains some vitality by me stopping, going elsewhere and then returning to it.

GP: What are you working on at the moment?

BC: A reconfiguration of a previous installation for the Whitechapel Gallery in the summer that I’m very much looking forward to. I will also be reconfiguring the work I recently made for Airspace Gallery for a different venue in Japan and am hoping to go and install myself. Some new work for a new project space in Dorset in August called Three Works, then in the autumn I will be undertaking a short collaborative ceramic residency at Troy Town at the Open School East with Emily Speed, an artist I’ve shown alongside a number of times and with whom I’ve had extensive discussions. Where it’ll go I’m not sure, but that’s why we’re doing it!

KT: I’m predominantly working on object-based work at the moment, and in particular working on some floor-based wood and steel sculptures that increasingly don’t contain any threads. This isn’t so much a shift away from using threads; it’s more that I’ve become really interested in constructing these geometric abstractions that refer to classic modes of plinth-based sculpture with an emphasis on weight and balance. I’m also working on a suspended mobile piece with fluorescent acrylic. I’m working on a project for a group exhibition at Oxford University Mathematics Institute that opens later in the year that I’m really excited about. Visiting and responding to the collection of plaster geometric solids there has been really interesting. I’ll be showing some sculptures for an art fair in Basel in June, and in the autumn I’ll be in a couple of group exhibitions at Griffin Gallery and Patrick Heide in London.

(Giovanna Paternó, Ben Cove, Kate Terry - London, May 2015)

BEN COVE

2008 2001 1995

Education M.F.A. Fine Art, Goldsmiths College, University of London B.A. (1st Class Hons) Fine Art, Sheffield Hallam University B.A. (Hons) Architecture, University of Nottingham

2013 2006 2004 2002

Solo Exhibitions Vernacular Hangover, Acme Project Space, London Practical Mechanics, Cell Project Space, London New Plastic Universal, Castlefield Gallery, Manchester Tilted, Leeds Metropolitan University Gallery, Leeds

2015

2014

2013

2012

2011

2010

2009

2008

2007

Selected Group Exhibitions The London Open, Whitechapel Gallery, London (forthcoming) In Schönheit Auferstehen, Galerie Patrick Ebensberger, Berlin (forthcoming) Indefinable Cities, Airspace Gallery, Stoke-on-Trent, UK and Japan (forthcoming) Autocatalytic Future Games, No Format Gallery, London (forthcoming) Plane to Line to Point, Ben Cove & Kate Terry, dalla Rosa Gallery, London Contemporary British Abstraction, SE9 Gallery, London Demimonde, Slate Projects & Mottahedan Projects at Amberwood House, London Vulpes Vulpes Open, Vulpes Vulpes, London Screen Space, Slate Projects at The Pickle Factory, London East London Painting Prize Shortlist, Strand East, London Speaking Space, Day + Gluckman at Collyer Bristow Gallery, London Paint Britain, Ipswich School of Art Gallery, Ipswich (detail), H Project Space, Bangkok; Transition Gallery, London Crash Open, Charlie Dutton Gallery, London The Beginning of History, ASC, London Discernible, ASC, London Temples 2 the Domestic, Clifford Chance, London Ha Ha What Does This Represent?, Standpoint Gallery, London Niet Normaal, The Bluecoat, Liverpool T4C British Showcase, Farmers and Merchants Bank, Los Angeles First Come First Served, Lion & Lamb Gallery, London Diamond Armour, Article Gallery, University of Birmingham VESSEL (British Art Show 7 Fringe), Stonehouse, Plymouth Peering Sideways, PSL, Leeds L’Ultima Cena, Refettorio di San Michele, Pescia, Italy Re-Covering, Untitled Gallery, Manchester Spirit Level 010, Go Modern, London CUBE Open 2010, CUBE Gallery, Manchester Unrealised Potential, The Cornerhouse Gallery, Manchester Roaming Room, Room Gallery, London Print Now, Bearspace Gallery & London Art Fair, London Creekside Open, APT Gallery, London Le Roman Du Lievre: Marginalia, MTS Gallery, Anchorage, USA Between My Finger and My Thumb, Schwartz Gallery, London Fluid Foundations, Fieldgate Gallery [offsite at V22], London Without You It’s Nothing, Cockpit Arts (Deptford X Festival), London Goldsmiths Showcase at DIUS, Government Offices, Whitehall, London Cantilever, Day + Gluckman Collyer Bristow Gallery, London SPACE Now (40th Year Anniversary Exhibition), SPACE Gallery, London CUBE Open 2007, Cube Gallery, Manchester

2007

2006

2005

2003 2002 2001

Dorian Gray, The Vegas Gallery, London Public Pages, University of Falmouth Gallery, Totnes Celeste Painting Prize Finalists, The Truman Brewery, London The Painting Show, O Contemporary, Brighton Objects in Waiting, The End Gallery, Sheffield New Trends in Painting, The City Gallery, Leicester Drawn Together, The End Gallery, Sheffield Young British Art, The Silesian Castle of Art, Cieszyn, Poland N.W. Open Prize, (winner) Art Gene, Barrow, Cumbria Thermo 03, The Lowry, Salford Flatlands, The Pumphouse Gallery, London Bloodstream, Islington Mill, Salford Northern Graduates, Curwen & New Academy Galleries, London

Residencies 2006 – 10 Acme Studios Fire Station (Work / Live), London 2007 Art Gene, Barrow-in-Furness, Cumbria 2003 Yorkshire Art Space, Sheffield

Ben Cove, Head Construct (2), 2013, oil and acrylic on panel, 40 x 40 cm

Awards and Commissions 2014 East London Painting Prize, shortlisted 2011 Acme Fire Station Centenary - Permanent Site Specific Commission 2008 Goldsmiths College MFA Purchase Award 2006 – 08 Acme Studios Fire Station, 2.5 Year Studio Support Bursary

AHRC Award for Postgraduate Study 2006 Celeste Art Prize, finalist

Arts Council England Awards for Artists: for Solo Show Practical Mechanics 2005 Art Gene Open Exhibition Winner 2004 Arts Council England Awards for Artists: for Solo Show New Plastic Universal 2002 Arts Council England Awards for Artists: for Solo Show Tilted

Collections Goldsmiths College, Priseman-Seabrook, Soho House, private and corporate collections in the UK and Europe.

2015 2014

2013

2012 2011

2008

2007

2006

2004

2003

2002

Publications and Press Recommended Exhibitions: Demimonde, The Financial Times, Jackie Wullschlager East London Painting Prize, exhibition catalogue with an essay by Matt Price (detail), exhibition catalogue, essays by Andrew Bracey, David Ryan - Transition Editions Screen Space, exhibition catalogue with essays by Alex Meurice & Alex Ball The Acme Fire Station Centenary, Q & A with Julia Lancaster Ben Cove, Vernacular Hangover, Agenda UK, Wall Street International Seven Micro Essays on the Work of Ben Cove, George Vasey A Small Hiccup, publication to accompany A Small Hiccup exhibition, George Vasey Ha Ha What Does This Represent?, catalogue & Abstract Critical website, David Ryan Vessel Exhibition Review, a-n Magazine, Gabrielle Hoad Project Space Leeds: Peering Sideways, Artists’ Exhibition Publication Marginalia, LRdL: catalogue, Rabbit Rabbit Press, USA SPACE Studio Artists, The Guardian (Culture), Martin Argles Goldsmiths at DIUS, The Guardian (Education), Anthea Lipsett Link-Up, a-n Magazine, Melanie Stidolph Cube Open Review, Building Design Magazine, John Lee The Enthusiast Almanac, The Enthusiast Publishing Celeste Art Prize, exhibition catalogue Preview, Ben Cove: New Plastic Universal, The Guardian (Guide), Robert Clark Pick of the Week, Ben Cove: New Plastic Universal, The Guardian (G2), Jessica Lack Interview with Duncan Higgins at Yorkshire Art Space, www.morethan12.net/2003 The Zero-K Show, Resonance FM, interview with Joyce Akrasi Don’t Miss, Ben Cove: Tilted, The Independent (Review), Maya Palander Minute Wonder: Ben Cove, short film profile, Channel 4 Television, Malcolm Venville Radar, Ben Cove: Tilted, Flux Magazine, Daniel Brierley

Teaching and Artist’s Talks University of Leeds, Wimbledon School of Art, University of Brighton, University of Staffordshire, Winchester School of Art, Sheffield Hallam University.

opposite: Plane to Line to Point, installation view at dalla Rosa Gallery (April 2015)

KATE TERRY

Education 2000 – 02 Master of Fine Arts (MFA) University of Guelph, Canada 1996 – 99 BA (Hons) Fine Art: Sculpture, Manchester Metropolitan University

2013 2011 2010 2009 2007

2005

2002

2001

Solo Exhibitions Open Forms, Virginia Commonwealth University in Qatar, Doha, Qatar Plan of the Present Work, IMT Gallery, London Reassuring Synthesis, smallspace, Berlin 10 x 10 x 10, Nightwatch, Gooden Gallery, London Empty Voluminous, 1000000mph, London Interference, Mercer Union, Toronto, Canada From Margin to Centre, A Delicate Matter, ESA Arts, Leeds Pinpoint, text + work gallery, Arts Institute at Bournemouth Diaphanous, Skol Centre des Arts Actuels, Montreal, Canada Cloud Filling, Art System, Toronto, Canada Eight Hours, Zavitz Gallery, Guelph, Canada

2015 2013 2012

2010 2006

Two Person Exhibitions Plane to Line to Point, Ben Cove & Kate Terry, dalla Rosa Gallery, London Between Systems, with Lukas Troberg, Galerie Michaela Stock, Vienna Accumulative Something, Sharon Louden and Kate Terry, Patrick Heide, London The Inception of Line, Keke Vilabelda and Kate Terry, Coldharbour London Kate Terry and Mark Selby, Schwartz Gallery, London More and Less, with Michelle Allard, Eyelevel gallery, Halifax, Canada

2015 2014

2013

2012

2011

2010

2009 2008

2007 2006

Selected Group Exhibitions Illegitimate Objects, The Mathematics Institute, Oxford University (forthcoming) The Opinion Makers II, Londonewcastle Project Space, London FROWARD, curated by Flora Fairbairn, Eton College, Windsor Making Matters, Platform A, Middlesborough Sophia Starling/Kate Terry/Sarah Kate Wilson, Newlyn Art Gallery, Cornwall Overt Exchange, A.P.T. Gallery, London Once More, Lokaal 01, Breda, Holland Other Spaces: Re-imagining Architecture, Bosse & Baum, London Breeder, Patrick Heide Contemporary Art, London Alter, Vegas Gallery, London Level, Talbot Rice Gallery, Edinburgh Anschlüssel London/Berlin, Centre for Recent Drawing, London Air I Breathe, Rochelle School, London, Gazelli Art House Anschlüssel London/Berlin, Fruehsorge contemporary drawings, Berlin Common Logic, IMT Gallery, London Here and Again, Patrick Heide Contemporary Art, London Miniscule, Oblong Gallery, London Shadow Boxing, Home House, London A Life of Their Own, Lismore Castle Heart of Glass, Shoreditch Town Hall, London Soot From the Funnel, curated by Frederik Vergaert & Richard Ducker, Lokaal 01, Holland Parallax, curated by Richard Ducker, Fieldgate Gallery, London Suffragette City, The Spare Room projects, Bow, London The Joy, Nettie Horn, London Shibboleth, Dilston Grove, London Storefront, National Gallery of Canada, Ottawa, Canada

previous page: Kate Terry, 7523 (2013), painted wood, acrylic, 75 x 23 x 2.5 cm this page: Kate Terry, Series VI no.1 (2013), painted wood, thread, pins, 49 x 63 x 2 cm

2005 2004

2003

2002

2001

Multiples, Lot Gallery, Bristol Sorry for the Inconvenience, Junction Arts Festival, Toronto, Canada Self-Publish or Punish, Open Space, Victoria, BC, Canada Reduced, Century Gallery, London This is Paradise, Peter Richmond Gallery, Toronto, Canada Keep Six, Kaufman Building, Kitchener, Ontario, Canada Curious and More Curious, Art System, Toronto, Canada Two Heads are Better than Dumb, Zavitz Gallery, Guelph, Canada I just don’t know when to stop, Zavitz Gallery, Guelph, Canada Home, Zavitz Gallery, Guelph, Ontario, Canada It’s not what you’re like, it’s what you like, Art System, Toronto

2011

Curatorial Projects Common Logic, IMT Gallery, London (co-curated with Gary Colclough), group exhibition with Rana Bagum, Ian Monroe, Amy Stephens, Kate Terry and Amy Yoes

Collections National Gallery of Canada, Florian Werner/ Arlberg Hospiz Hotel, Austria. Private collections in Europe.

2013

2011

2008

2007

2006 2005

2004

2003

2001

Selected Bibliography Fadenkonstruktionen”, Weak Materiality issue, archithese Mai/Juni 2013, International thematic review for architecture Air I Breathe, exhibition catalogue What is an Art Book?, Modern Language Experiment Kearns, Hollie, “A Life of their own”, Circa magazine, Ireland August 2008­ Thorne, Sam, “A Life of their own”, Frieze magazine online, July “In Praise of Suffragette City”, The Guardian, July 2nd, 2008 “A Tale of Two Castles”, exhibition news, Art World magazine, Issue 5, June/July Cork, Richard, “Top Forms”, Royal Academy of Arts magazine, No.99, Summer Geldard, Rebecca, “Kate Terry: Exhibition of the Week”, Time Out magazine, August 8-14, 2007, No. 1929 Uhlyarik, Georgiana, “From the invisible to the spectacular”, catalogue, Mercer Union, Bethune-Leamen, Katie, “Kate Terry: Pinpoint”, Pinpoint exhibition catalogue, The Arts Institute at Bournemouth Firth-Eagland, Alissa & Chhangur, Emelie, “Sorry for the Inconvenience”, exhibition catalogue, Toronto, Canada Beaudet, Pascale, “Evanescence and Geometry”, Diaphanous exhibition catalogue, Skol Centre des Arts Actuels, Montreal Kondrachuk, Natalie, “Home”, exhibition catalogue, Zavitz Gallery, Guelph, Ontario, Canada

2011

2008

2007 2006

2005

Selected Artist’s Talks Resonance FM, radio interview Gazelli Art House, panel discussion with Dr Jean Wainwright Abstract Critical, In studio with Kate Terry, 4 short films Lismore Castle, Ireland, panel discussion chaired by Richard Cork University of the West of England (BA) Mercer Union, Toronto, Canada University of the West of England (BA) Camberwell College of Arts (Foundation) The Arts Institute at Bournemouth (BA)

Current Teaching Associate Lecturer in Fine Art at Camberwell College of Arts.

Š 2015 the Artists & dalla Rosa Gallery, all rights reserved.

Installation photos by Philip Jones. dalla Rosa Gallery | 121 Clerkenwell Road | London EC1R 5BY | dallarosagallery.com