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Kate Mitchell |
Your performance- based video work is very humorous & explores what you have described as the 'Disneyland impossible'. Where do you get your ideas?
Ideas come from a plethora of places. I like to collect images, trawl the Internet, pour over old books, spend time in bookstores, watch old cartoons, waste time on youtube and travel as much as possible. I become attracted to an image, a colour, an idea, a vibe, and it’ll percolate in the back of my mind for a while. I end up with a spread of images and they act as a series of conceptual prompts, like theatrical prompts. The task then is to cast about for connections before they are flung into the bin. Hilarious connections may emerge, or something inappropriate, either way if you stick with it long enough something will happen!
Your work is quite physical- from sawing a hole around yourself to climbing a ladder while cutting the rungs and even carrying a businessman on your back- have you ever injured yourself and is that ever a concern going in?
Beyond the occasional bruise and sore muscles I’ve never injured myself in any significant way. Before embarking on a project I’ll sense what I’m doing is within my physical range of capabilities. For example I wouldn’t tight ropewalk 30 stories high because it’s 100% guaranteed that I’ll fall and die that doesn’t sound like much fun. It doesn’t mean, however, that the action will be easy, it's just that I have to feel like I can give it a good crack!
I’ll see the action in my head and when it comes down to the moment I always feel very calm, corny as it sounds. I’m always vividly alert, am able to think with clarity and focus, I always feel extremely vibrant, strong and aware of everything around me. I think it’s the final moment when I know there is nothing more that can be done, when I have to face the commitment of what I’ve set up and see what happens.
You recently returned from Yokohama in Japan where you completed a one month residency as part of BankART Life III- how was it?
The BankArt residency was quite an experience! A turning point during the month long BankArt residency in Yokohama is that moment when you realise that all of the things that are different and at times difficult result in new levels of patience and understanding of how different systems operate.
You learn new ways to overcome communication difficulties (ie charades) and you shift your expectations and become more flexible and open. When the dialogues turn into resolutions you begin to have a sense of the benefits (which may realise much later down the track) that will come out of being apart of any residency experience.
For me, it is that moment of knowing that everything is always worthwhile, regardless of how you feel at the time, and that is the most exciting part.
Any memorable moments?
Among many special moments this one was quite memorable!
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Shinko Pier performance. |
This performance took place on the BankArt Shinko Pier forecourt.
It’s emotion was pitch perfect.
Where to from here? Any plans for the future?
As a result of the one month residency at BankART Life III residency in Yokohama, Japan in 2011 I’ve made a new 5 channel video work which continues my exploration into endurance action work.
Magic Undone opens February 1st at Artspace.
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Kate Mitchell, Fall Stack, Bakery Scene production image, 2011.
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Kate Mitchell, In A Situation, 2011, single channel high def digital video, 6minutes 2 secods, 16:9, colour, silent, videography: Hugo O'Connor - projection shot at Anna Schwartz Gallery, Sydney, Social Sculpture, curated by Charlotte Day, 2011.
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Kate Mitchell, Lost A Bet, 2011, single channel standard definition deigital video,19mins 38 secs, 16:9, Black and white silent, videography: Brett Brown, framed newspaper advertisement, 19 x 15cm (framed size).
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Kate is also one half of the art collective Greedy Hen.
For more information check out Chalk Horse.
All images courtesy of the artist.