Catrina Marr

I’ve always had a vested interest in capturing the portrait of places, rather than that of people; seemingly empty rooms are filled by objects with the ability to tell stories. 

My studio practice is somewhat of an informative lost and found, a hybrid process of exploration where the destination is never reached and the inconclusive remains interpretive. I see the world in terms of connectivity, lines which form, collide, and break with each step. In front of me, the jointed objects align with the spaces between, but this lasts only until my gaze leaves to render. When it returns to observe, it finds the lines have again displaced themselves. The essence of that short-lived harmony is the foundation for my work. Superimposed layers create a net for objects to fall into, and eventually to be stitched or seam ripped in echo of atmosphere. 

I create maps of my eye’s subjectively guided experience, using re/deconstructive languages that activate space through consumption of the old by the new, and mask the nostalgia of past with the obscurity of present. It is the translation of shifting space and impression of life within the still and lifeless world which finds itself in a city, crowded by buildings and void of people.

The endless journey brings only one conclusion: the definite is infinitely indefinite.