NPA Lab | 2022
Rhianna Catt + Melanie Jordan
Rhianna Catt works with an autoethnographic approach, exploring ideas through symbolism. She specifically enjoys exploring the symbolism of different forms of nature which reflect her own experiences. Through primarily intaglio techniques, she combines photographic and more abstract techniques to use the work as a mirror to reflect an experience back on them in hope of understanding, changing the narrative and creating change.
Melanie Jordan’s textural, haptic work shines a light on the ambivalence of motherhood; informed by being a mother of an adult with a learning disability, where the mother-child relationship becomes stuck in a dependent phase.
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Rhianna Catt
‘Critter Camaraderie’ (2023)
Multi-plate Etching, Edition of 10 (54 x 54cm)
The project explores my personal experiences of being autistic through using the symbolism of insects, and in particular beetles. I have always been drawn to drawing insects, the reasons being that they are misunderstood. They are incredibly beautiful but seem to be pushed aside and regarded as something unwanted or disgusting. I have been creating a series of work using this imagery, and symbolism to raise awareness around neurodiversity.
Rhianna Catt
‘Critter Camaraderie’ (2023)
Multi-plate Etching, Edition of 10 (54 x 54cm)
The project explores my personal experiences of being autistic through using the symbolism of insects, and in particular beetles. I have always been drawn to drawing insects, the reasons being that they are misunderstood. They are incredibly beautiful but seem to be pushed aside and regarded as something unwanted or disgusting. I have been creating a series of work using this imagery, and symbolism to raise awareness around neurodiversity.
Rhianna Catt
‘Critter Camaraderie’ (2023)
Multi-plate Etching, Edition of 10 (54 x 54cm)
The project explores my personal experiences of being autistic through using the symbolism of insects, and in particular beetles. I have always been drawn to drawing insects, the reasons being that they are misunderstood. They are incredibly beautiful but seem to be pushed aside and regarded as something unwanted or disgusting. I have been creating a series of work using this imagery, and symbolism to raise awareness around neurodiversity.
Rhianna Catt
‘Critter Camaraderie’ (2023)
Multi-plate Etching, Edition of 10 (54 x 54cm)
The project explores my personal experiences of being autistic through using the symbolism of insects, and in particular beetles. I have always been drawn to drawing insects, the reasons being that they are misunderstood. They are incredibly beautiful but seem to be pushed aside and regarded as something unwanted or disgusting. I have been creating a series of work using this imagery, and symbolism to raise awareness around neurodiversity.
Reflections on peer to peer mentoring
Rhianna Catt
The Peer to Peer mentoring was a really helpful and inspiring experience for myself. Melanie helped keep myself responsible and accountable, keeping me on track to complete the project without getting distracted by something new. I was also really inspired by Melanie’s process and practice. She works intuitively whereas I like to meticulously plan. Therefore through out the process of making my etching plate I decided to go with my gut instead of always sticking with my plan. Things didn’t always work, but I really appreciate how these marks and it’s history is still within the plate and therefore within the print.
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Melanie Jordan
‘Cut’ (2022)
Textile (60 x 43 x 28cm)
For Melanie the placenta is the root of the relationship between a mother and child. This umbilical connection is physically severed at birth, however this is only the beginning of unpicking the tensions of being a mother of a dependent adult. Through stitching soft umbilical scissors she is exploring this paradox.
Melanie Jordan
‘Cut’ (2022)
Textile (60 x 43 x 28cm)
For Melanie the placenta is the root of the relationship between a mother and child. This umbilical connection is physically severed at birth, however this is only the beginning of unpicking the tensions of being a mother of a dependent adult. Through stitching soft umbilical scissors she is exploring this paradox.
Melanie Jordan
‘Cut’ (2022)
Textile (60 x 43 x 28cm)
For Melanie the placenta is the root of the relationship between a mother and child. This umbilical connection is physically severed at birth, however this is only the beginning of unpicking the tensions of being a mother of a dependent adult. Through stitching soft umbilical scissors she is exploring this paradox.
Melanie Jordan
‘Cut’ (2022)
Textile (60 x 43 x 28cm)
For Melanie the placenta is the root of the relationship between a mother and child. This umbilical connection is physically severed at birth, however this is only the beginning of unpicking the tensions of being a mother of a dependent adult. Through stitching soft umbilical scissors she is exploring this paradox.
Melanie Jordan
‘Cut’ (2022)
Textile (60 x 43 x 28cm)
For Melanie the placenta is the root of the relationship between a mother and child. This umbilical connection is physically severed at birth, however this is only the beginning of unpicking the tensions of being a mother of a dependent adult. Through stitching soft umbilical scissors she is exploring this paradox.
Melanie Jordan
‘Cut’ (2022)
Textile (60 x 43 x 28cm)
For Melanie the placenta is the root of the relationship between a mother and child. This umbilical connection is physically severed at birth, however this is only the beginning of unpicking the tensions of being a mother of a dependent adult. Through stitching soft umbilical scissors she is exploring this paradox.
Reflections on peer to peer mentoring
Melanie Jordan
Being paired with someone I was unfamiliar with gave an edge that pushed me out of my comfort zone. Rhianna’s way of working focuses on detail and accuracy. It made me consider how I might incorporate a greater degree of precision into my intuitive process. Rhianna’s thoughts and perspective was invaluable, especially as I normally work alone in my studio. Her noting that my sculpture resembled legs rather than scissors was an eye opener for me. I subsequently focused on refining the form.