Artist Biography - Kathy Little

Kathy Little graduated from the Royal College of Art in 1982 with an BA and MA in Fine Art. Combining her practice with a vibrant career in teaching, she has since exhibited at the Discerning Eye Exhibition for a number of years, as well as in the U.S. The artist also has work in private and public collections including the Victoria& Albert Museum in London.

Kathy's
...artwork reflects her continued interest in capturing and expressing the innate qualities within the landscape, influenced by both natural and industrial environments and how they have been altered and reshaped over the passing of time. Using the process of layering, then subtracting paint, the artist attempts to invent new compositions and continually redraw, adjust and edit to achieve a balance of colour, form, texture within her stunning compositions.

Starting the day early, Kathy works from her home studio in her garden, listening to radio 4 on continually for company. The artists day to day tasks include keeping my website updated, emailing, keeping up to date with the contemporary art world and reading blogs and art and design magazines.

Animated brushwork, flowing surfaces of paint, and drawn line that inscribes the surface characterize the evocative landscapes of Kathy Little. The hills, meadows, forests, and more particularly the riverbanks of the North of England, a dramatic and rugged environment with its echoes of English Romanticism, are the subject matter for compelling emotive paintings.

Little makes sketchbook studies to capture the essence of locations, but the resulting studio scale paintings are made more from the experience and memory of place. This sense that the image can evolve and develop during the process of painting gives the work a freedom of expression that reveals a profound connection with the natural environment.

The landscapes express a variety of responses, they make the viewer sense place in an acute way, for example the sharp fresh clarity of a frosty winter morning, or the languid haze of summer heat. These diverse sensations are expressed through shifts in colour and texture, variation in consistency of paint, or the differing strength and rapidity of expressive gestures. Watery airy surfaces are loosely brushed in contrast to thicker overlaying textures that form a surface of solidity and durability. The surface is alive with an activity of paint and mark; the making process, the physicality of the painting, is poignantly apparent.

The works reveal an intriguing relationship between drawn line, often incised into wet paint, and painterly activity consisting of liberally applied brushstrokes. Colour tends to stress the quality of northern light and is controlled through tonal contrasts of light and dark in a predominately cool palette.
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