Kate Dunn's practice is considered with ideas of contemporary painting within a historical context. Having studied classically for four years in Florence, her work uses an abstract language to discuss the evolution of painting with particular reference to the religious and renaissance imagery she was surrounded by in Italy.
Concerned with the possibilities of paint in its most viscid, gestural and fluid forms, she is not interested in paint representing anything apart from itself. The paintings may hint towards things, but they are never direct translations. They encourage the experience of paint as paint and question the possibility of whether we can encounter something from an authentic materiality based viewpoint. In this way, she questions whether, when we consider the history of painting we can still access its materiality.
Through shape or installation she attempts a discussion between 21st Century painting and its European origins. The work, in its historical structure and non-representational nature, becomes a kind of conglomerate, a contemporary fossil belonging to no specific time.