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Eloise Cato is an Australian artist who has recently joined the Contemporary art scene. Cato’s practice examines the notion of natural disasters as natural abstractions. In a broad sense the cannons of association, duality, materiality, sensationalism, art and language. Using the associations of relevant conceptualised entities to create hyper-real pastiches.
Cato’s practice currently examines the visual patterns of natural phenomenons, representing them as unique and pure abstractions in her pieces. In so doing she aims to provide a metaphysical representation of our contemporary state. Sculptural in nature, Cato’s dismantled ‘landscapes’ distort and disorient what we know as real and place things in a new and shockingly unexpected way. Through the method of burning, her monochromatic work becomes not only the remains of a brutal force but the embodiment of an art medium. Charcoal sourced from bushfire sites and plastic worked from industrial blow-mould extruders take on opposing mannerisms associated with their dual realties. This interplay of the natural and the artificial is an underlying theme in Cato’s work.
As such, Cato is reliant upon the combination of oppositional mediums to create a uniquely minimal yet dramatic aesthetic. With raw materials directly sourced from bush lands in regional NSW and contrarily, plastic manufacturing factories to cataclysmically extrude ‘metaphysical paintings’ in her studio in Sydney.
Graduating from the National Art School with a BFA in 2013, Cato’s work is currently held in private collections.
Eloise Cato is an Australian artist who has recently joined the Contemporary art scene. Cato’s practice examines the notion of natural disasters as natural abstractions. In a broad sense the cannons of association, duality, materiality, sensationalism, art and language. Using the associations of relevant conceptualised entities to create hyper-real pastiches.
Cato’s practice currently examines the visual patterns of natural phenomenons, representing them as unique and pure abstractions in her pieces. In so doing she aims to provide a metaphysical representation of our contemporary state. Sculptural in nature, Cato’s dismantled ‘landscapes’ distort and disorient what we know as real and place things in a new and shockingly unexpected way. Through the method of burning, her monochromatic work becomes not only the remains of a brutal force but the embodiment of an art medium. Charcoal sourced from bushfire sites and plastic worked from industrial blow-mould extruders take on opposing mannerisms associated with their dual realties. This interplay of the natural and the artificial is an underlying theme in Cato’s work.
As such, Cato is reliant upon the combination of oppositional mediums to create a uniquely minimal yet dramatic aesthetic. With raw materials directly sourced from bush lands in regional NSW and contrarily, plastic manufacturing factories to cataclysmically extrude ‘metaphysical paintings’ in her studio in Sydney.
Graduating from the National Art School with a BFA in 2013, Cato’s work is currently held in private collections.
8, 15 – 19 Boundary Street
Darlinghurst, Sydney
NSW, Australia
Email: [email protected]
