Matthew Harris and Katherine Huang
Matthew and Katherine employ colourful palettes, reduced forms and a camp sensibility. Yet while Katherine’s delicate sculptures take their cues from found objects, architecture and the cityscape, Matthew’s paintings incorporate the interior aesthetics of suburbia and immediate domestic life.
Katherine’s ceramic sculptures express the formal energies discerned in the fluidity of the urban environment, exploring a mode of living that occurs while in transit. Her recent body of work is a result of travels to Texas and Paris in 2015 and 2016. Objects include derivations of garden fringes, and casts of a chocolate coin imprinted with an emblematic Parisian architectural feature. Katherine describes her work as ‘contemporary picture poetry.’ They take the form of fictional archeological relics, whose assemblage creates lyrical associations.
Matthew’s floral paintings take their cues from regional suburbia, retro aesthetics, and queerness. Flowers, such as tulips, daises, roses, and pansies, are confined to uniform patterns creating a deadpan veneer. Less of a botanical study, ‘the flower’ is engaged as an archetype of prettiness: an excess of symbolic sentiment that embodies the adage ‘so happy it hurts’. Also included is a painting of tiles in the artist’s bathroom referencing Piet Mondrian. Cartoon cockroaches cover its surface, as both an abject contemporary update of Mondrian and reflection of immediate living conditions. Similarly, a portrait of the artist’s boyfriend riffs on Jeff Koon’s Made in Heaven series, as a study on taste and sexuality.