Q&A with Katrina Rhodes

A while back I reviewed Katrina Rhodes’ show at No Vancancy - below is a Q&A with the artist.

Describe the project you’re working on at the moment?
At present I am concentrating on making an extension to my studio, as over the past year it has seemed to Implode with endless brushes, canvas and general painting supplies. I have two commissions in which I need to start, but during the days now that my show has come to an almost sell out close, I am commissioned to design and execute gold leaf ceiling designs for a mansion in Toorak. Let’s just say I can’t wait to get my next show started.


What inspired you to make this piece/series?
What inspired me was merely the fact that I wanted to do something for myself. Over all the years I have been a painter that has had to follow the briefing or had to work within the restrictions of a client or directors limits, someone else always takes the credit in those scenarios. Whether that has been interiors or film or theatre the story is always the same the artist is left at the end of the day walking away from a masterpiece, that same artist can never take any ownership. I wanted to create something that helped me find happiness and in turn, create smiles around me. I have always been curious of the old masters in painting and have always worshiped their commitment to what they do. Call me self indulgent if you like, but this is the way I like to learn. And to chose a subject matter for me comes with a much more organic experience. I just go with the flow and let the subject matter take me for a ride. I trust what I paint, and I have every faith that it will take me to my dreams as my dreams take me to my subject matter.

Read More

Review | Katrina Rhodes at No Vacancy Gallery

No Vacancy gallery was crowded and noisy on opening night of ‘A Handful of Civilised Friends’, three of its walls hung with ornately framed paintings and photographs and the forth glass wall kept out the cold autumn night. Katrina Rhodes’ paintings make up three quarters of the exhibition and a final section features her photographs, vintage and water marked. At first glance the subject of her work appears to be an anthropomorphised history of monarch-like figures, a sort of royal portraiture. The anthropomorphising is in the form of ducks, instead of human heads, and human hands instead of wings. The brush work is fine and all have a subtle mysterious quality to them.

Above: Valentyne
Acrylic on cotton 
Image from 
the26thletter.com.au.

Read More