Katie Hallam is fascinated with the complexity of a digital image and also the unpredictable nature of how an image can be altered either intentionally or via the simple product of an error; a glitch. These errors in technology are normally fleeting moments or ‘hiccups’ in transmission where screens freeze, break up the data, crackle the sound or fuzz out completely! We all find these errors a lot less tolerated and something that just shouldn’t happen in ‘today’s world’ as we continue to strive for perfection and instant, seamless results.
Self taught or art school?
Art has always been a strength and passion even from my early days in my education. I knew that I wanted a career in the creative industries but my path has not been a straight forward one! I studied a foundation course in art and design alongside photography and knew that working with a camera felt extremely natural, this led me to pursue further education in photography where I learned classic darkroom and analog techniques and gained work experience in studio and commercial settings. I then worked in the photographic industry for a number of years before I decided to take a leap into the challenging but inspiring world of secondary art teaching. The past six years as a teacher taught me to practice my skills and ideas on a daily basis but there was always a part of me that still needed to see where my personal practice could go. This drive and curiosity ultimately led to my decision to take an MA in Contemporary Art Practice at Edinburgh College of Art and it has been the best year in art school yet! I guess all my work in industry has helped me to reflect and refine my practice and I have been self directed in my choices and naturally driven to keep on learning; I’m excited to see where the path takes me next!
If you could own one work of art what would it be?
Gerhard Richter has been one artist I’ve always admired. One of my well known works is actually a photograph capturing one of his Strip paintings in Tate Modern with a person standing in front of it being completely absorbed in the mesmerising lines and colours. His questioning of painting in the digital age counter balances my question of the imperfections of digital photography in an increasing ‘perfected’ technological world; I’d absolutely love to have one of the Strip paintings on my wall.
How would you describe your style?
From a photographic point of view I have been told I have developed a distinct style of composition and sensitivity towards balance of colour and shape. Most of the early works have strong abstract style and I would say are easily recognisable with the glitch effects. Although the glitch aesthetic is well used and seen nowadays, my style has become more selective and perhaps subtle in some works – I like people to appreciate some elements more closely such as a slowed down or frozen capture of moving pixels rather than looking at the full and sometimes chaotic effects of corrupted imagery.
Where are your favourite places to view art?
As a student and teacher the classic hot spots for seeing amazing artwork were of course the iconic Galleries in London such as Tate, Barbican and Saatchi. These will always be favourites of mine but I think my pleasure has changed in seeing more local places that exposure new and emerging artists; degree shows, local print studios, pop up galleries, show openings and artist led venues are a perfect way to get into good conversations on a more personal level and to be involved in leaving more about new works, ways of displaying and collaboration opportunities.
Who are your favourite artists and why?
At the moment I am really enjoying looking at artists who are exposing technology in an illogical ways to create random algorithms or culturally powerful messages such as Hito Steyerl, Jon Rafman and Pascal Dombis. For the materiality of technology, industrial materials and use of sculpture and space, artists such as Letha Wilson, Eva Hesse and Nina Canell have been a huge influence in looking at construction, scale and combinations of materials.
What or who inspires your art?
So many things inspire my work from nature, light, texture, location, colour. I am particularly drawn to line, structure and depth within most of my compositions and I am inspired by how some works appear more like an illusion which trick the eye into thinking the digital corruptions could be seen as painterly or textile details. I’m also intrigued with the unexpected, I tend to work purely on instinct and try to plan or overthink ideas too much. My intuition leads the way and not knowing how the work will alter is the most exciting part of the process!
Where’s your studio and what’s it like?
I have yet to have a personal studio space of my own but I’m now working on that since the MA will be coming to an end I will will need the space to continue working on my sculptural pieces. The studio space I had at Edinburgh College of Art was within the magnificent main building and next to the sculpture court. The space was shared with four other artists with tables and large white boards and wall spaces to present work on. Huge amounts of natural light flooded in and the high ceilinged space continuously changed due to the nature of the work we were all producing. I believe that any studio should be a continuing and evolving space especially as I normally have more than one project on the go.
Do you have any studio rituals?
Music and coffee are essential of course to keep up the creative spirit going throughout the day and having a stack of books to turn to when you need a break or a fix of inspiration.
What are you working on currently?
Before the lockdown I was at the point of developing a new project involving research into geology and media. My practice was to explore how to take the digital and create work within physical spaces, to not only look at the construction of digital imagery but to consider the connections between the environment, materiality of technology and us. This enquiry led me to recently visit the last working quarry and coal mine in Scotland. I was lucky to get hold of some large pieces of coal which I plan to cut and merge with digital imagery printed onto aluminium. I am also experimenting with manmade and synthetic materials such as silicone and latex where digital images are printed on directed and allowed to degrade and fade over time. These sculptures would explore the concept of natural energy as a resource to power new media technology and the cycle of dysfunctional technology that is destroyed, melting and turning into residue and dust that embeds back into the ground, air and materials around us.
What are your ambitions?
Ambitions are always focused on learning more about techniques and processes. I would like to collaborate with other artists or industries that will help to develop my practice to wider audiences and work towards on-site installations and exhibitions. I’ve always wanted to get a piece of work selected for the Royal Academy Summer Show too so fingers crossed!
