Kate Murdoch; finding, reclaiming, reusing art

Kate Murdoch is an artist based in south-east London. She tells Big Smoke about the inspirations behind her work.

Hello Kate. You’re first exhibition was back in 2007 in Deptford. How did you arrive at this point? Had you always wanted to be an artist?

In 2007 I applied to take part in Deptford X, a local annual arts festival, and was lucky to be selected as part of the satellite programme. Being an artist was something that at the back of my mind I always felt I’d like to try my hand at, but earning a living was a priority and so any ideas about it were side-lined. More recently, I’ve been fortunate to be able to take some time out from working in the caring profession and give art as a vocation a go … five years later, I’m still experimenting!

How important is your environment to the art you create?

Environment has always been important to me and I’m sensitive to the effect different environments have on both myself and others. I have fond memories of a carefree childhood, playing outside for long periods of time, and continue to be drawn to wide open places, especially in mountainous areas and by the sea. My work often responds to the outdoors – e.g. The Heart of Whitstable, the “Hame” piece I did as a tribute to my late Father and “Dear Nan” as a tribute to a dear Nan of Deptford.

A lot of your work is very interactive and involves sharing, what value do you think this brings?

I think a friend of mine really hit the nail on the head when he described the potential outcome for one of my interactive projects, “10 x 10”, as ‘a comment on humanity’. The issue of generosity comes up over and over again in this project and value in its very primitive form is scrutinised. “10 x 10” asks people: ‘What is an object worth to you? What are you prepared to give up in return?’

In terms of value, people say it’s hard to put a price on human kindness, but in my experience the project has been hugely enriched by the positive way in which people have responded to it. It’s also an inclusive project, I feel, attractive to adults and children alike, and because it’s hands-on and generally outside of a white cube space, it is perhaps more attractive to people who wouldn’t ordinarily interact with art.

The concept of community and identity is a recurrent theme in your art. Why is this so important for you?

I’m a great believer in the benefits of community and the strength gained from people working together, committed to a shared value system – a personal backlash against Thatcher’s damning statement in the 1980s: ‘There is no such thing as society’. Identity has been and is an on-going issue of importance to me – we change all the time as human beings.

As the daughter of a Scottish father and an English mother it was an issue throughout my childhood; my Father ‘talked funny’, people would say: ‘I can’t understand a word he says’ and I remember my Dad himself telling me that he really was made to feel like a foreigner when he moved into a small village in Cambridgeshire in the 1950s. Where you come from, your roots, your social standing are all things that are important and nothing sums up what I mean more eloquently than a recent quote by the artist George Shaw:

‘An element of my work is about looking at the surroundings that you’ve come from and instead of being dragged down by the country which tries to keep you in your place – you elevate where you’re from and your position and become proud of who you are.’

What is the significance for you of reusing – often everyday – items?

I use a lot of found and reclaimed objects in my work, and – well yes, naturally, I’d love to be able to say that it’s for ideological reasons. To be honest, though, it’s because I’ve got them. The main part of my work revolves around sorting a lifetime’s collection of clothing, books and other paraphernalia. But of course I’m very happy that the materials I use in my work are in no way having a negative impact on the environment.

Who do you make art for? Is there ever an audience in mind?

First and foremost, it’s for myself. As I said, much of my work is autobiographical. And so it’s an expression and it’s not made with consumerism in mind. But I also respond to calls from curators and galleries, who, as well as themes, might have specific audiences in mind.

You recently started blogging. Has this been a positive experience?

It’s been an incredibly positive experience and one that has surpassed my expectations, to be honest. I thought that there might be one or two responses to things I’d written but I’m fortunate to have been introduced to a ready-made audience of artists on “a-n Artists Talking” website. I’ve been able to enter a really supportive and encouraging community right from the start. The blog has also helped me to focus on my work, and already, in just two short months, feels like an integral part of my artistic practice.
You can read more about Kate’s current projects on her blog and view her work on her website.

Interview by David Mentiply.