My Cat Knows What I'm Thinking
- Submitting institution
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University of East London
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 8
- Type
- M - Exhibition
- Venue(s)
- Edinburgh Printmakers
- Open access status
- -
- Month of first exhibition
- April
- Year of first exhibition
- 2017
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Supported and funded by Creative Scotland, Heritage Lottery Fund, Edinburgh City Council, University of East London and Mad Spoon Ltd., My Cat Knows What I’m Thinking included 19 ceramic plates, four stone lithographs and a commemorative ceramic plaque in celebration of Edinburgh Printmakers’ fiftieth anniversary. The lithographs were created in the EP studios.
The items made for this exhibition were inspired by Great-Rex’s habit of talking to his cat about his day and psychotherapist Philippa Perry’s observation that we make meaning by projecting our inner experiences onto external objects. The plates and lithographs were made with the domestic environment in mind, representing familiar objects that function as repositories for personal reflections, thoughts and emotions.
The accompanying catalogue was published by EP (ISBN 978-1-5272-0856-8) as a print run of 500 with the first 100 copies sold as a signed limited edition. It contains contextualizing essays by Perry and artist/academics Lesley Logue and Mark Hampson. Great-Rex also gave a public talk during the exhibition, reflecting on the materiality of ceramics, its links to printmaking and the nature of collaboration.
Great-Rex has been involved with a diverse range of printmaking media and practices for over forty years and has been working with ceramics for the last fifteen; the EP exhibition was the first time he showed prints and ceramics together. His work in both mediums draws on folk, outsider art and domestic commemorative wares and samplers. He also employs similar strategies when drawing onto clay or stone. He uses scraffito techniques to carve into the surface of the clay, while his prints are realised by drawing with tusche and crayon before erasing and scratching back into the surface of the stone to reveal the image
- Author contribution statement
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- Non-English
- No
- English abstract
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