www.artistcathk.com 

@cathkerr_artist 

What first inspired you to start creating art, and how has that inspiration changed over time?

I’m not sure I was ever “inspired” in the traditional sense, it’s just something I’ve always done. Since childhood, I’ve been a maker, a doodler, a creative, constantly noticing patterns and seeing the world graphically. Over the past decade, painting and sculpting have become like oxygen for me, a place of nourishment where I can quiet the chaos of everyday life and focus purely on the next brushstroke, the magic of colour, composition, and form. 

Can you describe your process—from the first spark of an idea to a finished piece?

In recent years I’ve been questioning long-held conventions, and that curiosity has shaped my work. I asked myself: Why must still life be confined to a single plane? It doesn’t need to be. So I embraced a maximalist approach – vessels, drinks, flora, fauna, and fragments of life entering from every direction. The result is work that can be hung in any orientation, giving the collector an active role in the creative outcome. 

Has there been a piece you’ve made that surprised you or taught you something unexpected?

Many pieces have. They’ve taught me that patience is a virtue I simply don’t possess… though at this point, it’s hardly unexpected! 

Do you have a different process based on the medium? If so, how do you approach each?

Yes. With painting, I usually gather stimulus and plan a loose colour palette before starting. With clay, it’s far more intuitive, the form emerges almost without conscious thought. Clay feels like my “weekend” from painting, a freer space to play. 

How do you know when something is “finished”?

That’s always tricky. I try to stop before I risk overworking a piece, but it’s difficult to be objective when you’re deep in focus. If time allows, I’ll turn it to the wall for a while, then revisit it with fresh eyes and pay attention to my immediate reaction – whether it feels complete or still asks for more.  

What role does trial and error play in your work? (Any happy accidents?)

I try to save experimentation for when it doesn’t matter, so as little as possible! That said, even in careful planning, small surprises always creep in, and sometimes they’re the best part. 

Do you have a favourite medium?

Acrylics. I adore oils too, but pragmatically, acrylics make sense for me. They allow 

faster turnaround and are more practical for my process. Sometimes you need to think 

like a businessperson as well as an artist.

If you could only keep one tool from your studio, what would it be?

Such a hard question! I use and love many, but my easel is probably the most essential.

What do you hope people carry with them after experiencing your work?

That they’ve witnessed beauty – something bold, unapologetic, and full of personality. 

What value does the creation of art have on you?

It’s essential. I don’t just love to create, I need to. It’s as vital to me as breathing.