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Eloise Cato’s practice has embraced the plastic age and all its manufactured mannerisms in the context of the machine of the art world, how its machinations fascinate and inform. Cato works by hijacking injection blow moulding machines of mass production to manipulate polyethylene into unexpected monochromatic abstractions. Endeavouring through the guise of a natural form, a cloak of ebony charcoal, to mask the sins of the synthetic. This surface is gently painted in a highly laborious and time-intensive process that’s not evident through the counting of brushstrokes.
Working with manufacturing machines it’s easy to believe the essence of the artist is stripped out from the work. Yet Cato’s artworks are deeply personal to her, with hidden meanings that are unveiled by personal conversations and built relationships with the viewer. It’s her belief that translating her inner world as a private person into the exteriorisation required by contemporary artists requires balance within a digital age of oversharing, where the personality of the artist often becomes a greater currency than the voice of the artwork itself – a manufactured experience.
Graduating from the National Art School with a BFA in 2013, Cato’s work has been exhibited across Australia and overseas, as well as being featured in a number of art fairs and held in private collections around the world.
Eloise Cato’s practice has embraced the plastic age and all its manufactured mannerisms in the context of the machine of the art world, how its machinations fascinate and inform. Cato works by hijacking injection blow moulding machines of mass production to manipulate polyethylene into unexpected monochromatic abstractions. Endeavouring through the guise of a natural form, a cloak of ebony charcoal, to mask the sins of the synthetic. This surface is gently painted in a highly laborious and time-intensive process that’s not evident through the counting of brushstrokes.
Working with manufacturing machines it’s easy to believe the essence of the artist is stripped out from the work. Yet Cato’s artworks are deeply personal to her, with hidden meanings that are unveiled by personal conversations and built relationships with the viewer. It’s her belief that translating her inner world as a private person into the exteriorisation required by contemporary artists requires balance within a digital age of oversharing, where the personality of the artist often becomes a greater currency than the voice of the artwork itself – a manufactured experience.
Graduating from the National Art School with a BFA in 2013, Cato’s work has been exhibited across Australia and overseas, as well as being featured in a number of art fairs and held in private collections around the world.
8, 15 – 19 Boundary Street
Darlinghurst, Sydney
NSW, Australia
Email: gallery@mcontemp.com
