Katherine Southam
Having grown up in the Eastern Townships of Quebec and Ontario’s lake country, woodlands and lakes have always been integral to my artistic evolution and sensitivity, and now greatly inform my artistic practice. I began
my arts education with a theoretical grounding by completing a BFA in Art History at Concordia University in Montreal. After this foundation, I wanted a practical immersion in art, having discovered a passion for glass as a medium, so I pursued a degree in Glass and Ceramics at the National Glass Center in Sunderland, England. I now work from my studio in Nelson, British Columbia, where I am currently exploring the possibilities of combining glass elements with mediums such as stone, and developing ideas into installations.
My recent work has been inspired by an interest in mythology and the patterns of connection between the natural and human worlds. Metaphor and surreal imagery are particularly important to my work and are often the starting point for my process. I am intuitively drawn to certain symbols and creatures, and these lead to the development of my three-dimensional forms. The subsequent result enables a disorientating exchange with the viewer, who can bring their distinct perception to the object. Glass lends itself nicely to the representation of themes of duality and transformation, and, in my work, I express these themes in a purposefully fluid way.
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my arts education with a theoretical grounding by completing a BFA in Art History at Concordia University in Montreal. After this foundation, I wanted a practical immersion in art, having discovered a passion for glass as a medium, so I pursued a degree in Glass and Ceramics at the National Glass Center in Sunderland, England. I now work from my studio in Nelson, British Columbia, where I am currently exploring the possibilities of combining glass elements with mediums such as stone, and developing ideas into installations.
My recent work has been inspired by an interest in mythology and the patterns of connection between the natural and human worlds. Metaphor and surreal imagery are particularly important to my work and are often the starting point for my process. I am intuitively drawn to certain symbols and creatures, and these lead to the development of my three-dimensional forms. The subsequent result enables a disorientating exchange with the viewer, who can bring their distinct perception to the object. Glass lends itself nicely to the representation of themes of duality and transformation, and, in my work, I express these themes in a purposefully fluid way.
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