PHD Worcester University
MA Royal College of Art
BA Portsmouth Polytechnic
Katrina Blannin is influenced by the Systems Group and Constructivism. Following certain self-created rules, she explores tonality and colour-play through variations (rotations, compressions, expansions) and repetitions of the same motif or “pattern”. Meticulously executed, these incisive works have a dynamism and rhythm that invite and reward visual exploration.
Blannin lives and works in London. She studied at the Royal College of Art and is currently a PhD Student at Worcester University. She has exhibited widely, including the John Moores Painting Prize and is co-editor of Turps Banana magazine.
“Abstract painting is such an exciting challenge, still relatively new and still difficult for the world to take on. For me, symmetry and asymmetry are essential considerations …I am certainly looking for a way of working that will produce paintings that have a logical clarity, compositional and material interest … Working with a series of permutations, sequences or with mirror images, rather than a single image, can inspire ideas about movement – I think I would call it a kind of visual ‘dance’.”
Katrina Blannin’s show – Annodam at the Jessica Carlisle Gallery was highly recommended by Geoff Hands in his article for AbCrit and prompted me to visit the gallery and see the work. Annodam is Madonna backwards and the work has been inspired by Madonna Del Parto by Piero Della Francesca, 1455-60
The article described his aesthetic experience on viewing Blannin’s work at the PV and was refreshing to hear a critic allow paintings to be nothing other than beautiful.
The work was immaculately produced with a careful choice of rough linen or flax that added texture to the painted surface. The choice of colours, on some works appeared dry and almost dull but with the added bright coloured lines quietly sang out. The paintings are strong and sit with quiet confidence. They are indeed beautiful.
The gallery is small and recently located to it’s central position and consists of a small rectangular, white painted space with windows down one side and wooden floorboards. the size of Blannin’s work looked good in the space.