Kate Milsom’s work is rooted in the past, not simply because it features historical imagery, but also by using the same techniques and chemical processes. After graduating in fine art from Oxford Brookes University and the School of the Art Institute of Chicago, Kate worked in restoration for many years, where she developed a reverence for authentic materials and an appreciation of the richness and depth of pure pigment.
Kate began producing elaborate mixed media pieces while on a long stay in Venice in 2006, making use of city-floor ephemera such as museum leaflets. She continues to incorporate "scraps" of the past, sourced from second-hand books and magazines, into her "intricate scenes of social malfunction" in which symbolic references abound, seamlessly blending these collage elements, which she partly over-paints, with hand-painted background areas.
Researching her favourite cut-out figures for hours, Kate builds up a picture of their lives. With a wry smile and a vivid imagination, she transposes these facts into an alternative portrait; an invented image of the subject’s internal and external reality.
In her three most recent series of work, No Man’s Land, The Colonials and The Migrants, the artist investigates undiscovered or little-known ground-breaking women throughout history and up to the present day, the exertion of power and possession of land through the imposition of religious and social hierarchical structures (with a nod to the political landscape in America today) and the current refugee crisis (drawing parallels with the aristocratic émigrés who fled France after the French Revolution).
Kate exhibits widely, and her work has most recently been shown in the Royal West of England Academy Open Exhibition, Bristol (2016, 2014 and 2012), a group show at the Menier Gallery, London (2016) and the Cork Street Open, London.
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