Notice Board

I’ve just been commissioned by Yorkshire Sculpture Park as Lead artist on their new 14 -18 Now project: Leap of Faith. It takes Katrina Palmer’s The Coffin Jump 14-18 NOW newly installed work as catalyst.

Led by YSP’s Art & Wellbeing Coordinator, Rachel Massey, Leap of Faith will work with participants from two local authority areas that border the Park, in partnership with Ashiana Sheffield, Kirklees Women Centre, and Glint [Horse Assisted Development]. Massey says: “At YSP, we use a range of approaches to help people engage with the art. We are interested in exploring ways to support people to engage with their own creativity and self-expression. This is a unique opportunity to work with women, therapists and artists and create something together, inspired by The Coffin Jump and other art at YSP”.

Leap of Faith aims to help participants gain the confidence to express themselves, to develop positive relationships, and to build positive new memories. Activity will include creative sessions devised by the participants themselves in conjunction with me, as well as equine therapists.

February 12th. At Bromley House Library.  2pm –  4pm. How can you picture a placebut never hold it still with an anchor of description?
An afternoon of exploration, reading, discussion and reflection to consider alternative archives and unique systems of recording inspired by both place and practice. With readings and presentations by cultural geographer Dr David Matless (University of Nottingham) and Bromley House Library artists in residence Kate Genever. Included in the event is an opportunity to visit the ongoing archive work within the library and a tour of the current exhibition and library. This event is supported by CVAN East Midlands.
Follow link HERE to book a place

A drawing installation and works in progress.
Metal. Chauffeurs Lodge. Peterborough
9^th– 20^th January.
Artist Talk – open to all, Thursday 11^th at 6pm
Artist in residence Kate Genever is trying to make work about big things, big issues, but sometimes they are too big and overwhelm her, so instead she has been focusing on the small acts, the quiet improvisations made by communities that reveal coping mechanisms and acts of resistance. This exhibition and drawing installation aims to share some of Kate’s findings at the beginning of her residency and propose a temporary site to consider man’s ingenuity in the face of change. 

Metal Southend were kind hosts last week – their beautiful house and its view supported exploration and thinking. It confirmed the known idea that stepping away can help looking and seeing anew. Visiting seaside communities at Jaywick brought up close the struggles faced when weather, land and housing all compete for control. As one resident I met said: Mother nature will always fight to take back whats hers.

Proffessor Emma Sdengo and I offered at talk on 29th September – ‘Healing Venice’- as part of a city and Ca’foscari collaboration: Venetonight. We presented ideas that suggested the architectures and lives of Venice offered healing potentials – inparticular we referenced ideas of John Ruskin and my drawings. The talk took place in Scuola Grande di San Marco [now the main Hospital entrance], with my drawings installed in the Bellini Library.

I’ve received a new commission from The Museum of English Rural Life with Georgina Barney. The proposal is for a new kind of collaboration, developed from being involved in the Museums recent ‘Intangible Cultural Heritage’ workshop and evolves from our shared interests. We will be bringing our established practices, art and farming networks and creative skills together to support, challenge and explore MERL’s ambitions to capture intangible knowledges and to extend their offer to audiences both rural and urban.

Leeds based writer Amelia Crouch has written a review about my work and The Migrations residency published HERE on The State of the Arts platform…

As part of the Migrations residency a short film thats been made: watch it here
Leeds based artist and writer Lisa has been invited to blog about the residency – read it here

I’m really pleased to be able to show the work of the village back in the village and have tea and cakes at the same time too.
Come and enjoy new drawings and prints made by our very own Kate Genever. Featuring Uffington past and present the work will be shown alongside village archive materials and photographs. Kate is keen to share and explain the work and will give a brief talk at 4pm – accompanied with tea and cakes. All works were commissioned by the St Hughs Foundation.  Doors open from 3pm until 7pm.

My work looks great in the new show at Bromley House Library. It features new drawings, prints and sewn works. This is the accompanying statement:
What distinguishes the life of a village is that it is also a living portrait of itself: a communal portrait, in that everybody is portrayed and everybody portrays: and this is only possible if everybody knows everybody. A village’s portrait of itself is constructed not out of stone but out of words, spoken and remembered: out of opinions, stories, eyewitness reports, legends, comments and hearsay. And it is a continuous portrait: work on it never stops. I love John Berger and his writings on place, animals, people…..everything, I regularly turn to him to think through stuff. The quote above is his. It’s the perfect description of many villages, mine included – Uffington.
Like many Lincolnshire villages it’s part of an agricultural area that’s highly managed and financially valuable, yet it’s challenged by environmental, economical and social tensions. Historically and politically relevant Uffington is originally the county seat of both the Kesteven and Lindsey families and sits at the county boundary with Cambridgeshire, Northamptonshire, Leicestershire, Rutland.
The drawn, collaged and sewn ‘portraits’ shown here in Bromley House Library are inspired by this village and its tensions; my embedded farming connection, the village photographic archive, landscape representations and reflections on Berger’s quote. Made over recent months, the work ultimately responds to land and water, how we farmers do, lost architectures and workings, weather and geography, time and stories. Importantly the work is my version of a place, it’s about my looking and a way of seeing.
This show and work was kindly supported by the St Hugh’s Foundation.