KATE ANDREWS

Kate Andrews (b. 1992 in Toronto, Canada) studied at 'Concordia University' and at the 'University of Guelph' in Canada. From 2016 to 2020 she attended the 'Hochschule für Künste' in Bremen and graduated as a "Meisterschülerin" of Stephan Baumkötter. She had her last solo show at 'Westfälischer Kunstverein' in Münster, until April, 2021. This year she participated in the exhibition "Shunted Sculptures Fleeting Words" at the 'Weserburg Museum für moderne Kunst' in Bremen and in "nuances" together with Daniel Schubert at SETAREH X.
Kate Andrews' sensitive images shift between concrete and ephemeral. Overlapping, merging and seemingly abraded colour fields meet sharp accentuating markings; dividing frames encounter fragmented structures. In addition to reminiscences of architecture and references to digital imagery, her nuanced paintings and drawings primarily convey moods and exceptional colour impressions. Again and again, allusive forms emerge, but without acquiring a fixed meaning. The painting »hoverbeam«, for example, could be derived from an architectural situation, perhaps from a window. But it remains a fleeting, unredeeming suggestion. The painting can be interpreted as an abstract pictorial space or as a gaze directed upward. This open and sometimes temporary character is an essential aspect of many works by the young Canadian artist.
 

KATE ANDREWS

Kate Andrews (b. 1992 in Toronto, Canada) studied at 'Concordia University' and at the 'University of Guelph' in Canada. From 2016 to 2020 she attended the 'Hochschule für Künste' in Bremen and graduated as a "Meisterschülerin" of Stephan Baumkötter. She had her last solo show at 'Westfälischer Kunstverein' in Münster, until April, 2021. This year she participated in the exhibition "Shunted Sculptures Fleeting Words" at the 'Weserburg Museum für moderne Kunst' in Bremen and in "nuances" together with Daniel Schubert at SETAREH X.
Kate Andrews' sensitive images shift between concrete and ephemeral. Overlapping, merging and seemingly abraded colour fields meet sharp accentuating markings; dividing frames encounter fragmented structures. In addition to reminiscences of architecture and references to digital imagery, her nuanced paintings and drawings primarily convey moods and exceptional colour impressions. Again and again, allusive forms emerge, but without acquiring a fixed meaning. The painting »hoverbeam«, for example, could be derived from an architectural situation, perhaps from a window. But it remains a fleeting, unredeeming suggestion. The painting can be interpreted as an abstract pictorial space or as a gaze directed upward. This open and sometimes temporary character is an essential aspect of many works by the young Canadian artist.