• Kenzie Brock

Interview with Katherine Jones



1) What is a typical studio day like for you?

I have two small children so I get up at 6.30 and get them ready for school etc. I get to the studio at about 9.15 and get as much admin out of the way (posting things out, catching up with emails etc) as possible in order to clear my head before beginning to make work.

Depending on what stage of the process I’m at with a body of work, the rest of the day is taken up variously by making watercolours, drawing and proofing plates, and printing editions.



2) What made you gravitate to nature and architecture in your work?

Each print is the result of a period of reading, thinking, drawing and painting. The images come up quite organically and relate to the things that are preoccupying me at the time of making. It’s important to stay open to change as far as possible. A lot of the work I make begins with a clear concept and then radically changes during the process.

3) How do you decided what gets abstracted and when something appears more real in your work?

What is made abstract or left more literal is determined partly during the process of drawing the plate but often objects and shapes are first worked out using watercolour and drawings and then used in the overall composition of an intaglio plate. The main criteria for me is that the images are honest.



4) You also paint. How do you decide what is painted and what is printed?

The paintings act as a sketchbook. They are all small scale, made on the off-cuts of paper used for printing large work. I make hundreds of them (most of which are thrown away) as a way of generating ideas. Occasionally I show some of the more resolved or more relevant watercolours as part of an exhibition but they never take centre stage.

5) What do you find is most successful for selling your work or just getting it out to people to observe?

I am lucky to have a gallery who show my work regularly at art fairs and give me shows. Being a printmaker gives you the option of making editions of prints which means that the same work can be shown in more than one gallery at once. Because of this, aside from my main gallery (Rabley Contemporary) I show with numerous other galleries in group shows.

It’s important initially to show as widely as possible and submit for any relevant open exhibitions. The first few galleries that began showing my work all saw me in open exhibitions that I had submitted to. It can be quite tough and you need to develop a thick skin as an artist because you are not always successful but don’t let it put you off.