A carved floatable pumice boulder is partially laid in a pattern with copper leaf, and will constitute a manner of ‘barometer’. This object was initially inspired by the medieval ‘hunger stones’, hydrological features, which are large usually unseen rocks on the floor and banks of the River Elbe in the Czech Republic and Germany, which only appear when the water recedes in times of extreme drought and, thus, famine. Witnessed in summer 2018 for the first time in 400 years, the stones are inscribed by unfortunate famine victims from centuries ago with ominous messages like “If you see me, weep.” and “When this stone sinks, life will become more colorful again”. These normally concealed markers are simultaneously poetic and beautiful, and haunting and chilling. The floating rock that I am proposing is the inverse of these hunger stones. Simple in appearance, a boulder embellished with a copper pattern, Barometer, like a buoy, has the potential to rise up and down with the changing water levels while the copper will oxidize and change color, creating a patina of verdigris (green oxidation). Operating in close proximity to the urban bayou, it will be a harbinger of the complicated perception of the rising and falling water in teetering times, as it literally floats between natural and artificial worlds – an atmospheric and emotional barometer, of sorts.
Katrina Moorhead’s installations, objects and drawings are frequently informed by her interest in sourcing or creating instances in which human sentiments are seemingly conflated with scientific facts, places where our mutable emotions overlay onto ‘fixed’ science. The works employ a wide variety of materials and objects, which when brought together continue to refer to known forms but simultaneously offer new, often poetic, associations.
Born in Northern Ireland, Moorhead received her BA and MFA from Edinburgh College of Art, Scotland. Moorhead has been awarded numerous residencies including fellowships at the Core Program at the Museum of Fine Arts, Houston and the MacDowell Colony, also the International Artist-In-Residence at Artpace, San Antonio, and SIM, Reykjavik. Her work has been exhibited widely in solo and group exhibitions in New York, Houston, Seattle, Tokyo, London, Glasgow, Zurich, and more. In 2005 her work was included in an exhibition titled The Nature of Things, as Northern Ireland’s inaugural participation at the 51st Venice Biennale. and in the International Incheon Women Artists’ Biennale (2009). Other exhibitions include Sparkle, 2006, Gallery Side 2, Tokyo, A Thing Called Early Blur, (solo) 2007, Blaffer Museum, Houston, The Luxury of Dirt, 2011 Galerie Bob van Orsouw, Zurich, Switzerland and seapinksea, (solo) 2019, Inman Gallery Houston.
Moorhead’s work has been written about in various books and catalogues, also periodicals including Art in America, Artforum and Sculpture magazine. She has been the recipient of awards that include the 2007 Texas Prize from Arthouse, Austin, and in 2008 an Artadia Award and the Joan Mitchell Foundation Award for Painters and Sculptors. Her work is included in many institutional and private collections.