Kate Smith, Imagine there are no limits, 1997. Installation view courtesy the artist and Matt’s Gallery, London.
Kate Smith, Imagine there are no limits, 1997. Installation view courtesy the artist and Matt’s Gallery, London.
Kate Smith, Imagine there are no limits, 1997. Installation view courtesy the artist and Matt’s Gallery, London.
Kate Smith, Imagine there are no limits, 1997. Installation view courtesy the artist and Matt’s Gallery, London.
Kate Smith, Imagine there are no limits, 1997. Invitation card.
Kate Smith, Imagine there are no limits, 1997. Invitation card.
Kate Smith, Imagine there are no limits, 1997. Installation view courtesy the artist and Matt’s Gallery, London.

Kate Smith, Imagine there are no limits, 1997. Installation view courtesy the artist and Matt’s Gallery, London.

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Kate Smith

Imagine there are no limits

9 April – 25 May 1997

Copperfield Road

Kate Smith is interested in the way we surround ourselves with objects through which we then understand ourselves: the way objects stand in for us: the way we become objects ourselves.

Drawing on a background of hybridised and customised objects, Smith will present a sculpture which creates a synthesis of two machines, a motorbike and a video-camera.  The pared-down presence of the futuristic machine hovers between object and image, illuminated only by the motorbike’s own lights and a bank of monitors replaying the repeated attempts made by a video camera to record the bike being pushed through increasingly faster speeds.

The video image continually threatens to disintegrate; the colour ‘falling out’, definition eroding and form warping - the duration of the video footage reflecting the length of time the camera managed to remain functioning, the whole piece oscillating between perfection and collapse.

Occupying a separate area of the gallery space,  a large projected image plays on this deterioration inherent in the amateur video footage Smith draws upon.  In the projection, both the circumstances of its showing and the subject the camera focuses on erode the image, the machine depicted apparently under controlled yet terminal pressure.

This exhibition has been generously supported by The Elephant Trust and The Henry Moore Foundation.