Kath Fries Studio

2012 Gosford Residency - final shop/studio days

Kath Fries, Gosford CBD studio space, 29 June 2012

Nature is stealthily creeping back in to the abandoned consumer domains and derelict spaces in the Gosford CBD. Quietly, subtly and subversively weeds and insects are reclaiming space and territory. Amongst the apparently uninhabited human structures, life forms continue to grow, incubate and survive. Much that interests me and inspires my practice involves our human relationships with nature and aversion to things that are naturally difficult for us to control. Often these natural occurrences are overlooked; common and everyday, or too discrete to notice. But when re-examined and re-interpreted in a different context, they can offer insights and narratives that expand beyond our superficial assumptions and usual dismissive attitudes.

Kath Fries, Gosford CBD studio space, 29 June 2012

A colony of Saunder’s Case Moths have taken up residence on the outside walls of the deserted Gosford Town Centre building. These fascinating little creatures and their intricate chrysalises have promoted me to explore incubation and germination in this series of site-responsive sculptures and installations.

Kath Fries, Sander's Case Moth Chrysalis - found object, 2012

Kath Fries, Chrysalises, 2012, branches and stockings, dimensions variable

Kath Fries, Chrysalis, 2012, (detail view), branches and stockings

On the ground, weeds have similarly been quick to take over and occupy seemingly insignificant, neglected patches of dirt. Their prolific seeds spread almost invisibly on the wind and rain, as well as on clothes and shoes - unbeknownst to their oblivious human traffickers. Although weeds and insects have relatively short lifespans, their existence leaves a trace and contribution to nature’s continuous cycles of adjustment and regeneration.

Kath Fries, Gosford CBD studio space, 29 June 2012

Humans also leave traces of their movements and a sense of history in the patterns and remnants of their ordinary everyday activities. The textures of the old shop floor (which became our ten day studio space) fascinated me with their unspoken stories of footfalls, construction and revamping. I used charcoal and graphite to create rubbings (frottage) of concrete swirling patterns revealed beneath peeling layers of paint.

The 2012 Gosford CBD Artists-in-residency studio space

I would like to thank the three talented, friendly and generous artists Wendy Abel Campbell, Kylie Rose McLean and Janet Meaney, with whom I shared the artists-in-residence project and shop/studio space. Working in a "goldfish bowl" under florescent lights was not only made endurable but also enjoyable because of your company. Thanks also to Sarah Samild and Tim Braham from the Gosford Regional Gallery - your flexibility and enthusiasm for our projects was refreshing and encouraging. Additionally to the Imperial Shopping Centre for the studio space and people of the Gosford local community who visited us and contributed to our projects.

Alicia McCumstie, It's a shop full of creativity in Gosford,
Express Advocate, 24 June, pg 50

The Gosford Artists Residency is organised by Gosford Regional Gallery and the Imperial Arcade. Artists: Wendy Abel Campbell, Kath Fries, Kylie Rose McLean and Janet Meaney. Our resulting work will be exhibited at Gosford Regional Gallery from 21 July to 16 September 2012 www.gosfordregionalgallery.com

2012 Gosford residency - ground beneath our feet

Kath Fries, Ground beneath our feet, 2012,
graphite on tracing paper frottage

Kath Fries, Ground beneath our feet, 2012,
photograph of the studio floor

The textures of the old shop floor - our temporary studio space - fascinated me with their unspoken stories of footfalls, construction and revamping. I used charcoal and graphite to create rubbings (a "frottage" drawing technique) of concrete swirling patterns revealed beneath peeling layers of paint - ground down over time. Traces of movement and a sense of history can be found in the patterns and remnants of our ordinary everyday activities. These semi-transparent paper panels form a record, like an archeological dig into the recent past, finding subtle beauty in details that are usually overlooked or dismissed.

Kath Fries, Ground beneath our feet, 2012,
graphite on tracing paper frottage, installed on the studio glass wall

Kath Fries, Ground beneath our feet, 2012,
graphite on tracing paper frottage and studio floor

Kath Fries, Ground beneath our feet, 2012,
photograph of the studio floor

2012 Gosford Residency - filaments

Working in the middle of a shopping centre has thrown up a number of challenges, particularly the absence of natural light and instead operating under a flood of flattening florescent lights that completely obliterate all shadow. Noticing and photographing changing details and shadows is always an important part of my process. So I quietly sort out a more dimly lit corner in the back corner of our studio/empty-shop to record the delicate filaments and shadows of this particular work-in-progress.

Kath Fries, filaments, 2012, stick, laddered stocking and shadow.

Throughout my practice focusing on everyday and found materials often leads to a prolonged engagement with their substance and limitations. Developing my artworks is about pushing materials as far as they can go, testing elasticity and flexibility, as well as how the they can be pulled apart and interconnected.