Lot 218 - Kate McCrickard - Artist at Work
Lot 218 - Kate McCrickard - Artist at Work

Lot 218 - Kate McCrickard - Artist at Work

Conté Coloured Pencil on Paper

After completing the dual discipline Fine Art degree at Edinburgh University in 1998, my professional life remained bifurcated – split between a disciplined studio practice in painting and printmaking and writing about art making. In 2011, Tate Publishing, London, invited me to write a monograph on South African artist, William Kentridge for the Tate Modern Artists series. I was a regular contributor to the American journal, Art in Print.  
I have exhibited my work internationally; works are held in major museum collections including The British Museum, London, Davison Arts Centre, Wesleyan University, Connecticut, USA, Los Angeles County Museum, California, The Metropolitan Museum of Art, New York, The New York Public Library and The Royal Scottish Academy, Edinburgh.  
I now have more time to devote to my painting as my three children grow older. They were once the focus of the work as I looked after them at home alongside the paint, battling against Cyril Connolly's infamous quote, “There is no more somber enemy of good art than the pram in the hall.” Drawing the human figure and its activities remain at the heart of the work, however, though the reach has become wider, moving out from the home, to local betting bars in the Belleville quartier of Paris where I live, swimming pools and football fields; the ménagerie at Paris' Jardin des Plantes – crowded spaces where we rubbed up against each other, at ease pre-Covid 19. 

MA Honours Degree in Fine Art (History of Art and Painting), First Class Honours, 1998, University of Edinburgh, Scotland 
Bradford College of Art, Foundation Course, BA Diploma, 1997  


2021 John Kinross 40th Anniversary Exhibition, Royal Scottish Academy, Edinburgh; London Original Print Fair, Austin Desmond Gallery, London; A Small Good Thing, online exhibition, curated by artist Sam Luke Heath; The Woolwich Print Fair. 2020 Summer Exhibition, Royal Academy, London, print room; London Art Fair, Art First Gallery, Islington Arts Centre. 2019, Points of Contact: Printmaking in Britain 1949-2019, Austin/ Desmond Gallery; London, curated by Julian Page; London Original Print Fair, Royal Academy, London; Print week New York, C.G. Boerner Gallery. 2018 Perfectly Small, The Foundry Gallery, London, Julian Page and Joanna Bryant Fine Art. 2017, The Little Cocktail Hour, group show, C.G. Boerner Gallery, New York. 2016, Creative Fury, group show curated by Julian Page and Joanna Bryant, Clerkenwell Green, London; Belleville, Art First London, Gallery 2, solo show. 2015, IPCNY, New York, True Monotypes, curated by Janice Oresman; This is my Proper Ground, David Krut Projects, New York. 2014, Open the Box, Art First, London; September 2013, Forét Intérieure, Alexandra Grant in collaboration with Héléne Cixous, Mains d’Oeuvres Art Centre, Paris. 2013 Sampler, Small Works by 30 Artists, curated by Bill Scott, The Cerulean Gallery, Philadelphia. March 2013, Kid, David Krut Projects, New York  
Recipient of the Royal Scottish Academy Maclaine Watters Medal for painting, 1998; Royal Scottish Academy John Kinross scholarship, 1998; The Richard Ford Award, 1998Art First, London 
Julian Page Fine Art, London 
David Krut Projects, New York/ Johannesburg. 


About the postcard artworks 


These little works derive from larger paintings and ongoing themes that preoccupy me. Now largely drawn from memory, here are characters from the local betting bars in the Belleville neighbourhood of Paris where I live, and animals drawn in the Jardin des Plantes ménagerie, transformed into characters back in the studio; the ménagerie studies playing with ideas of self-portrait as monkey going back to Chardin. I like working back and forth between paper and canvas, using the inceptive drawings as a prompt for longer painted works, and then creating further drawings after the canvases are completed as is the case with the bar drinkers here. The drawings and prints often serve as correctors to the slower medium of paint.