remembrance peace November 11th 2016
burnt wood, black plastic sheeting and water
Winter Open Studio, Dover 2016
a water installation
Noon light of winter solstice 2014, 2015
white string, pinned at the angle of the sun’s light at 12 o’clock noon on the winter solstice 2014.
The coloured lights are reflections off Marcelo’s Light Modulation Units on the floor
Noon light of summer solstice 2015
pink string, pinned at the angle of the sun’s light at the meridian (1pm) on the summer solstice 2015.
Interactions | summer solstice, 2015
Collaborative exhibition with Marcelo de Melo @ The Brewery Tap, Folkestone, Kent, June 2015
Equinox Peace, 2014
cotton thread, pinned at the angle of the meridian light on the spring equinox.
The DAD Space, Dover, March 21st 2014
Orienting Autumn / The Emperor’s New Clothes, 2012
gold thread across a space, angled at right angles to the arc of the sunlight at the time of Autumn Equinox
25°, MA degree show, UCA, Canterbury, September 2012
cotton thread attached to studio window and the floor, with the alignment of 4pm, 1st May 2011
A light installation, studio, May 2011
Solstice Camera Obscura, 2011
Through an 8mm diameter hole in a black-out board covering the window in my studio space, the light comes in and via the natural phenomena of camera obscurer (like our pupils in our eyes), projects the illumination from outside the space into the space, up-side-down and back to front.
Fringe Event, Folkestone Triennial, June 2011
Camera Obscura Refined, 2011
The outside light comes in through an 8mm diameter hole in a black out board covering window in my studio space. Tracing paper is suspended in the space to capture the projected illumination from outside the space, via the natural phenomena of camera obscurer. The room has also been painted grey and white to enhance the projection boundaries.
Fringe Event, Folkestone Triennial, August 2011
Marsh Camera Obscura, 2013
project phase 1 – two holes in either side of The Art Shack Artist residency @ The Art Shack, Romney Marsh Visitor Centre, Kent, April 2013
Marsh Camera Obscura Reflected, 2013
project phase 2 – as above but with a pool of water to enable projected light to be reflected and making the image the “right-way-round” Artist residency @ The Art Shack, Romney Marsh Visitor Centre, Kent, April 2013
Sublime Sun, 2011
A site and sound-specific installation, gold leaf, Plakka paint, wood and wind
Juan Jose Calarco & Kate Beaugié Sound & Light Installation, The Bank, International Lighthouse Relay, Folkestone Fringe, September 2011
The sounds of the Argentinian light house were metallic and dark and industrial. Juan’s sound piece conjured up a darkness in my imagination and he explained in an email that he was mainly recording at dusk in the twilight. The disk turned slowly with the metallic rotating sensation found in the sound piece. The disk turned with the movement of wind or people blowing on it.
Autumn in the West, 2011
A site and season specific film installation
Art in the Romney Marsh, All Saints Church, Lydd, September 2011
In the magnificent All Saints Church; ‘Cathedral of the Marsh’, I placed 3 small framed films in the north, east and south sides of the space. Art in the Romney Marsh takes place in various churches September each year. The marsh is an agricultural part of Kent and with that in mind and an awareness of the cyclical nature of the churches function in both ritual and positioning, I chose to acknowledge the north with a 16mm film about winter and death, the east an 8mm film about birth and spring and in an alcove for holy water on the south wall with a High Definition digital film picturing high summer, light and life.
stills of the three films: ‘north winter death’, ‘east spring birth’ and ‘south summer life’.
November Position, 2011
three burnt oak cubes
Unfold, UCA MA interim group exhibition, The Pie Factory, Margate, November 2011
The piece consisted of three oak wood cubes that had been burned by fire.
The black cubes were placed directly below the cubed shaped spaces that formed the three skylights. The work was intended to create a physical experience for the onlooker between the sensation of lightness (both of weight and light) of the skylights and the dense heaviness of the black, smaller heavy cubes of wood.
The use of burnt wood was in response to the late Autumn and the introduction of the ritual of fire to the time of year as a primal reaction to the lack of daylight.
Northern Light, 2012
grass turf and snowdrops
Curious/Dubious, Crate, Margate, March 2012
Grass turf installation. The grass turf was cut to replicate imagined light that would come in the Crate windows at the meridian angle for the time of year. The direction is toward the north, so there is never any direct light. Margate is famed for its’ special light quality, I feel this is due to the sea/Thames estuary being north of the town so the light reflects back into the location from the north/the sea. The piece was made to honour the particular light of Margate and to respond to the spring time. It was also a reaction to the piece ‘Heard’, 2011 by Claire Beattie, Raku clay and glaze, on the opposite wall.
A time lapse video of the making of the piece, March 2012
music and light symbiosis, experiment 1, 2013
Double bass and drums used to make sound waves that made the surface of the water move. A theater light shone onto the water made the surface reflect onto the back wall, so one could see the sound
At the beginning of the film, you can see Gerry Kelly holding a speaker above the water, facing down, with sounds broadcast from a microphone outside the Art Shack.