Jaclyn Meloche interviews KateBrown JM  In the press release for “The First Abstraction,” you refer to space as abstraction, but how would you define these two terms: space and abstraction? KB  I want to make it clear that when I talk of space, I refer specifically to a theoretical idea of space on a two dimensional plane. That being said then, abstraction is inherent within the idea of space on a two dimensional plane because of it’s kinship to apartness from the concrete.  JM  You have described space as a force, but force is not something that is tangible, but rather experiential.  Therefore, how do you explain space as a non-thing? KB  Actually, I explain space as a some- thing, different and apart, and not opposite to, object. For instance in my work, a  spaceform  (painted extracted mark) exists within the space of the surface. Again, force and space here are theoretical, and as such, both exist within the realm of abstraction. JM  How do you negotiate the formal and experiential differences between painting, sound and video? KB  For me, using  more than one medium within the same exhibition is a way to say the same thing differently – like translating the same phrase into a number of different languages. JM  More specifically, in your recent exhibition at the Women’s Art Resource Centre, you included a painting, digitally altered images and a video/sound installation.  Sound occupies a powerful sense of space in a similar way that the spaces in your two dimensional work depict vast and hollow crevasses.  How do you negotiate the relationship between two-dimensional and three-dimensional space? KB  Yes, the sound track from The First Abstraction video although generated within three dimensions, ultimately exists within the realm of abstraction since there is no concrete residue. JM  Black?  Does this shade pertain to a spatial component in the work?  If so, can you explain how? KB  Black itself does not necessarily pertain to a spatial component. For me, it is the combination of black and velvet that evokes the visual spatiality. JM  You write about the progression of perception.  In the context of your practice, how has your formal investigation of space evolved? KB  That is a very interesting question. I am not certain of this yet, but it seems that my investigation may just have led me right back to painting, only differently. JM  You write about the idea of universality, however perception is extremely subjective.  Are you suggesting that perception and observation are universal? KB  This is a reference to systems of existence where the ideas of language and perception of space are typically imagined and described  in relation to, and, as  the opposite of, object. This paradigm of polarities is, in my view, obsolete. JM  You speak about a formal influence between Canada and New York.  What were the aesthetic influences in NY compared to those in Canada? KB   In Canada, the paintings of Emily Carr greatly influenced my thinking about space as an entity unto itself, aside from a skillful way to depict the illusion of 3D depth on a two dimensional plane. In New York I was able to develop and push this further by studying earlier works of Frank Stella, paintings of Moira Dryer and the work of Will Insley to mention just a few. Results of this can be seen in Space in Situ where a golden rectangle has been painted with extract on an 8’ x 9 ‘ black velvet tarpaulin. Upon this space within space was projected an image of a sculpture of interconnecting planes (The object then became a temporal element and yet another sort of space). JM  Painting is extremely predominant in the New York art world, so how did the history of this city influence your practice?  Or more specifically your ideas about painting? KB  Yes, painting is extremely predominant in the New York art world. It inspired me to challenge myself and really explore and experiment in an attempt to add to the dialogue. JM How have your experiences as an artist in New York influenced your practice in Canada?  KB  My experience in New York certainly affirmed the rigour and seriousness with which I approach  my studio production. JM Language.  I am immediately reminded of Suzanne McClelland’s paintings in which language takes on a formal and metaphorical role.  How does your interpretation of language pertain to your imagery? KB   Essentially, I found that the vocabulary for which I was searching, both linguistically and visually, was either completely lacking, or obsolete. Hence, I have had to create my own . JM Your work is deeply rooted in the philosophies surrounding space, time and perception.  How do you find the balance between content and visual experimentation in your practice? KB  I thought that Space in Situ was as far as I could possibly go in my attempt to lay down a lexicon for how I thought  of space(s) abstraction, so then I just started to riff with the medium in pieces like The Remarking of Venus and Through Time and Space Her (Gradiva) Incandescence Leads since the conceptual lexicon is already embedded in and of the spaceforms that comprise the image. ( image is created with brush strokes of extract). With the current exhibition The First Abstraction, the concepts of space and time  have evolved to incorporate printer degenerated photo images of the black velvet image. The repetition  of the degenerated images are then carried forward into the images and sound track of the video.  JM  Lastly, can you write a little about your current work?  What are you working on?  What forms are your ideas taking today? KB  Currently, I am working on a couple of new bodies of work that are a direct result of the pieces in The First Abstraction exhibition. One body of work involves black velvet tarpaulins and video, the other, simply painting. Space and time will tell if they converge or not.