Slipping between the notions of art and design, Kate Langrish-Smith’s practice transcends disciplines, drawing upon contemporary fashion, ceramics and sculpture. Kate has adopted traditional craft techniques, and expanded upon them by incorporating synthetic compounds, assemblage, balance and performance to create a new lexicon with her work. This has engendered a unique semiotics of object; allowing a reappraisal of the body in the context of familiar, ubiquitous and overlooked commodities.
Her practice seeks a rapprochement between our dislocation from the makers, materials and provenance of objects that were shaped for a relationship with the human form. Kate draws inspiration from the history of health, beauty, and art from which surprising and compelling ‘stuff’, ‘things’ and traditions are illustrated. These forms – vessels, tools and artefacts – are the starting point for collections and clusters of objects which reconnect and elevate disparate places in time through a common language of ritual, desire and fascination.
EDUCATION：
2014-2015 DAS - Ceramics and Polymers, The Centre for Experimentation and Research in Contemporary Ceramics (CERCCO), Haute École d'Art et Design Geneva, C.H
2012-2014 Master of Arts- Fashion Artefact, UNIVERSITY OF ARTS, LONDON - London College of Fashion, U.K
2003-2006 Bachelor of Arts- Art and Visual Culture, Bristol School of Art, Media and Design, University of the West of England, U.K
CREATIVE/TEACHING/EMPLOYMENT：
2018.10 – Present Associate Lecturer, MA Design specialism Jewellery and Metalwork and Fashion, Sheffield Institute of Arts, Sheffield Hallam University
2019.09 – Present Associate Lecturer, MA Fashion Artefact, tutoring first year Artefact students. London College of Fashion - University of the Arts London
2020.01-2020.02 Associate Lecturer, Fashion and Textiles Level 3, The Sheffield College
2018.07 Programme Leader - Overseeing delivery of programme, leading/mentoring staff, pastoral care of 60+ young people - National Citizens Service, The Challenge
2018.01 – 2018.04 Team Leader in Nepal for INGO, working on water scheme implementation. Managing team of 12 people; working in collaboration with project partner organisation, facilitating awareness raising, building infrastructure, community mobilisation and training - Raleigh International Nepal
SOLO EXHIBITION：
2016.03.18 – 03.28 WHAT LIES BETWEEN, Yingge Ceramics Museum, New Taipei City, Taiwan
EXHIBITIONS:
TRANSFASHIONAL - Experimental Fashion in the Context of Contemporary Art
2019.10.19 - 2020.01.06 Museo della Città ,Rimini, Italy
2018.05.26 – 09.18 Kalmar Konstmuseum, Sweden
2017.05.19 - 06.04 Centre of Contemporary Art Ujazdowski, Warsaw, Poland
2017.12.07 – 12.20 Museumsquartier, Quartier 21, Vienna, Austria
2017.02.09 – 04.04 Austrian Cultural Forum, London, U.K
WHY-WHAT-WHO/10 YEARS OF FASHION ARTEFACTS
2019.09.26 – 12.01 National Museum of Decorative Arts, Buenos Aires, Argentina
2018.10.19 – 12.20 Beijing Institute of Fashion Technology, China
2018.05.23 – 06.17 La Biennale di Venezia, DESIGN.VE Tana Art Space, Venice, Italy
2019.09.12 - 09.29What Is The Matter? Materials, Commodities, Narratives, Kelham Island Industrial Museum, Sheffield, U.K
2017.04.13 - 05.06LES ARCHIVES DU FEU, LiveInYourHead Gallery, Geneva, Switzerland
2015.06.15 - 06.19 BARBOTINE CONSPIRACY, Haute École d’Art et Design Geneva, Switzerland
2015.04.24 – 05.31GYEONGGI INTERNATIONAL CERAMIC BIENNALE, Korea Ceramic Foundation, Gyeonggi-do Province, South Korea
2014.06.13 – 06.15 FASHIONCLASH FESTIVAL, Maastricht, The Netherlands
2014 .02.12 - 02.16 LCF MA14 SHOW, Victoria House Gallery, London, U.K
2011.03.04- 03.07PREMIERE CLASSE , Jardin Tuilleries, Paris, France
2010.09.04 – 09.07Premiere Classe, Port de Versailles, Paris, France
2009.04.02 - 04.30Game Play, Stephen Walton Fine Art, Bury St. Edmunds, U.K
2008.11.11 - 2009.01.11 Tatlin’s Tower and the World, Whitechapel Gallery, London, U.K
2006.09.21 – 10.19 Carnival to Comic, Stroud House Gallery, Stroud, U.K.
2006.06.09 – 06.14 Art and Visual Culture Final Show, Spike Island, Bristol U.K
AWARDS/GRANTS:
2020
Yorkshire Sculpture International Network 2020 - Participating Artist
’All Fired Up‘ Ceramics Commission - Artists in Residence
Arts Council England - awarded as part of Material Voice Collective
Artists Network Bursary - Recipient
Material Designers – Exihibiton Selected
2016 Yingge Ceramics Museum,New Taipei City -Artists in Residence
2015 8th Gyeonggi International Ceramic Biennale --Honourable Mention
2015 NHS Professionals – Funding towards ‘CERRCO’ at HEAD Geneva
2014 Eaton Trust-Funding towards ‘CERRCO’ at HEAD Geneva
2014 Golsoncott Foundation -Funding towards ‘CERRCO’ at HEAD Geneva
2012 AHRC Studentship - Award
2010 Hat Designer of the Year - Première Classe, Paris and The Hat Magazine, London
PREFACE
Tactile Tensions presents a selection of textural, poised, haptic and chromatic compositions and images that explore through sculptural representation the symbolic function and value of body-related objects and adornment.
Sensual shapes allude to the body; tensions build in the relationship suggested between material, gravity, balance, corporeal formation and intervention. The subversive and playful intention of these sculptural works explores, deconstructs and re-presents the material properties and provenance of objects that were shaped for a relationship with the human form.
The works attempt to deconstruct and challenge our perceptions, questioning our understanding and relationship to these commodities, forms and materials that share an intimate and engaging relationship with our bodies, desires and our physical and visual culture.
——Kate Langrish-Smith
Embody-Artefacts IV 2017
Variable dimensions
Acrylic polymer, Flocking,Performance
Embody re-presents pieces from 2014 collection ‘Mode Metonym’. The pieces were activated by a performer beneath a plinth for the duration of the opening nights of the international touring ‘TRANSFASHIONAL’ exhibition series the work was part of.
Cussi 2016
15 cm x 10 cm x 15 cm approx.
Porcelain, Plaster, Kiln brick
From a series of pieces made at Yingge Ceramics Museum, Taiwan. The gold lustre ceramic element of the piece is a cast taken from a Taiwanese bone Gua Sha massage implement. The plaster is formed using a technique of casting in balloons, pressed onto the body.
Kick’s 2016
180 cm x 45 cm x 50 cm approx.
Porcelain, Plaster, Wood, Threads, Pompoms, Inner Tube, Paint
Kick’s (detail) 2016
45cm x 50 cm
Porcelain, Plaster, Wood, Threads, Pompoms, Inner Tube, Paint
From a series made for a solo exhibition ‘What Lies Between’ in Taiwan. The pieces were cast from local Taiwanese Gua-Sha implements - a playful and reflective approach to my surroundings and new and strange things I found myself confronted with.
Artefact I 2014
Variable dimensions
Solid Cast Jesmonite
Artefact II 2014
Variable dimensions
Solid Cast Jesmonite, Black Lacquer Paint
Artefact III 2014
Variable dimensions
Solid Cast Jesmonite
Cast directly from the body using jesmonite. From the collection titled ‘Mode Metonym’ which explored the creation of a series of objects that the body could fit into or on to. Each artefact had the imprint from where it came into contact with the body retained in the solid form.
Artefact VI –Mode Metonym 2014
Variable dimensions
Solid cast shot blast iron, Rope
Cast directly from the body in plaster, then re-cast in solid iron and finished with a shot blast texture. From the collection titled ‘Mode Metonym’ which explored the creation of a series of objects that the body could fit into or on to. Each artefact had the imprint from where it came into contact with the body retained in the solid form.
Accroche-toi 2016
30cm x25cm x 100cm approx (Variable)
Plaster, String, Plinth
From a series of sculptures made using a technique that included casting plaster in elastic fabric or balloons, then making moulds to slip cast clay. It is part of a sculptural exploration of embodying tension, of creating amorphous forms that explore the compositional and relatable investment that objects can retain.
Mokai Pota 2019
30cm x20cm x 20cm approx.
Ceramic, Rubber, Tape, Sweetcorn Husk, Wood, Paint
An assemblage made using a selection of found and sculpted materials. It is an ode to Nepal - to the stupas, materials and colours I was influenced and surrounded by when I spent time there in 2018. The title refers to the materials and form - Mokai meaning corn in Nepali and Pota meaning pot.
Piss Pot 2020
45cm x 30cm x 65cm approx
Ceramic
This balanced vessel was inspired by a William Hogarth print entitled the ‘Company of Undertakers’ from 1736 - specifically one of the physicians in the etching fingering a flask of urine - at the time a popular way of diagnosing health issues - by tasting and examining patients urine.
Clubs 2019
Between 30cm x 20cm - 80cm x 20cm
Ceramic, Rubber, Tape
A collection of forms resembling and taking inspiration from ‘Indian Swinging Clubs’. Part of an ongoing investigation into body related tools/objects.
Half-Arched 2015
30cm x 25m x 20cm approx.
Plaster, Silicone
From a series of plaster sculptures made using elastic fabric skins. The piece was coated in a blue silicone and balanced using the yellow piece to play with the idea of the piece staying elevated off the surface it is on. It illustrates pleasing compositional elements of colour and texture.
Whiskers 2015
45cm x40cm x 45cm approx.
Ceramic, Balloon, Sand, Plaster
From a series of sculptures made using a technique of casting plaster in elastic fabric or balloons, then making moulds to slip cast. It is part of a sculptural exploration of embodying tension, of creating amorphous forms that explore the compositional and relationship of body and form.
Flush 2016
30cm x40cm x 40cm approx.
Ceramic Plaster, Wood, Fabric, Balloon
From a series of pieces made for the exhibition ‘What Lies Between’ in Taiwan. Made using a sculpting clay, sprayed with a pigmented porcelain slip on to the fired body, which created the crackled effect. The piece is balanced using found and made props, using gravity and weight distribution.
Poise II 2015
30cm x 15cm x 20cm approx.
Ceramic, Silicone, wood, Spray paint, Aluminium
From a series of three ‘POISE’ sculptures made out of a large clay body formed using elastic fabric, slip and adding puffed rice to create a texture. The piece was cut open using a ceramic cutter to reveal the texture and discolouration where the organic rice substance had started to decompose in the centre during the drying period.
TexturedComposition I 2019
45cm x15cm x 50cm approx.
Ceramic, Balloon, Twig, Thread, Wood, Plaster, Sweetcorn Husk
Exploring the theme of balance, texture and composition that runs through artist's work. These sculptures are often artist's way of thinking though making, and drawing in three dimensions. Collecting and assembling compositions until something looks and feels right.
Curator
Yan Laichao
Chinese artist, curator, graduated from the Academy of Fine Arts of Florence, Secretary general of Cross Cultural Communication and Development Association, lives in Italy.
Exihbition curator and execution
In 2013, the 55th Venice Biennale Parallel Exhibition "Canal Grand Canal", curator, Xiao Ge, executive curator, Yan Laichao, Italy, Venice Church Art Gallery
In 2014, the Chinese and Italian Culture Week in Naples, Zhang Yanzi's solo exhibition “pain relief stickers”, curator, Xu Lili, Italian curator, domenico. Execution curation Yan Laichao Pam Art Museum, Naples, Italy
In 2015, the 56th Venice Biennale - Jiang Heng's solo exhibition "The Gate to Hell", curator, Ji Shaofeng, Executive Curator Yan Laichao , Venice, Italy Genoa Museum of Contemporary Art
In 2015, the 56th Venice Biennale - Special Invitational Exhibition of Light Years, Chinese Painting Theatre, curator, Fang Xudong, Executive Curator Yan Laichao , Venice, Italy, painting theater museum
1. Yan Laichao: What information do you wish to convey to the audience through your work?
Kate Langrish Smith: To observe the gestural and suggested presence of the body, our bodies, alluded to in the pieces in various ways, some obvious and some more subverted. To consider presence, aesthetic value and form, to notice, enjoy and explore visually our corporeal relationship with the objects, materials, colour and texture that we surround ourselves with.
2. Yan Laichao: What do you think is the relationship between body and art?
Kate Langrish Smith: For me the relationship is one of exploration - on both a physical and conceptual level. We physically explore, experience and engage with the world around us - and then reflect and evaluate these experiences. This can then be applied through the context of art/design/making/doing into an expression or articulation of these experiences, sensations and aesthetic values.
3. Yan Laichao: What do you think are the new trends in the field of fashion artefact design and production in the future?
Kate Langrish Smith: I think there could be some exciting developments in exploring the integration of access and use of digital platforms, experience, expression and interaction with the more removed (through isolation and lockdown) notion of touch, physicality and materiality. For me as a maker and sculptor intangibility is something that I have been very aware of during the Covid-19 pandemic. The lockdown and movement online for work (for me in terms of tutoring students online, as well as exhibitions like this one) has really highlighted how tactile and physical ourworld is - and how we are having to adapt and explore more distanced or screen-based forms of engagement - which for some is less accessible than forothers. This amalgamation of the physical and the digital, the hi-tech and the lo-tech has been expressed and alluded to previously through the concept of the‘cyborg’. Although this is not new (the idea of combining the body and the machine) it is perhaps something that will be explored and challenged both within contemporary society and speculatively - and fashion, artefact, designand sculpture can explore these possibilities through both the tangible and the digital.
4. Yan Laichao: What do you think are the similarities and differences between the two art forms, sculpture and painting, in expressing the artist's inspiration and ideas?
Kate Langrish Smith: I think they are both physical expressions that try to articulate through gestural processes how the artists navigate and respond and comment on their experiences, thoughts and understanding of the world around them. Playing with and experimenting with what feels most comfortable, accessible or inspiring, challenging and relevant to express at any given moment.
5. Yan Laichao: Will you try some other forms of crossover art in the future? Please give us some brief information about your plan?
Kate Langrish Smith: My work is quite varied in terms of material exploration - I love learning new techniques and trying to apply and combine them into my visual language - I tend to simplify and re-interpret them for my needs. I recently bought a book called ‘Creating Bottles with Gourds and Fiber’ by Jim Widess as I have really enjoyed combining more natural materials with some of the more synthetic elements in some of my compositions - such as Loofahs and corn husk - which can be seen in my works entitled ‘Mokai Pota’ and ’Textured Composition I’ - and which I collected when in Nepal in 2018. I am exploring and inspired by traditional and non-western methods of carrying and decorating ‘vessels’, and the materials that are indigenous to the specific area of provenance for these.
