KATIE PATERSON
The Cosmic Spectrum
2019
Spinning disk, printed vinyl, motor
Artwork dimensions:
78 1/4 inches / 198.5 cm diameter disc
Housed motor dimensions:
20 1/4 x 29 x 24 inches / 51.5 x 74 x 61 cm
Edition of 3
JCG11017
KATIE PATERSON
Ideas (A directory of everything unnamed on earth)
2018
Micro waterjet-cut sterling silver
4 1/4 x 9 1/8 x 1/4 in
10.8 x 23.2 x 0.5 cm
JCG10270
KATIE PATERSON
Exhibition view at James Cohan Gallery, New York City, 2016
KATIE PATERSON
Exhibiton view at James Cohan Gallery, New York City, 2016
KATIE PATERSON
Installation view at CentrePasquArt, Biel, Switzerland, 2016
Photo © Julie Lovens
KATIE PATERSON
Installation view at CentrePasquArt, Biel, Switzerland, 2016
Photo © Julie Lovens
KATIE PATERSON
Installation view at CentrePasquArt, Biel, Switzerland, 2016
Photo © Julie Lovens
KATIE PATERSON
Totality
2016
Mixed media
KATIE PATERSON
Totality
2016
Mixed media
KATIE PATERSON
Candle (from Earth into a Black Hole)
2015
Scented layered candle
Exhibition view Frac Franche-Comté
Photo © Blaise Adilon, 2015
Candle (from Earth into a Black Hole) is a scented, white candle which burns down over 12 hours. The candle creates a journey through space via smell; as if taking off from Earth, journeying to the Moon, the Sun, Mars, Jupiter, the stars, all the way into a Black Hole. The candle is formed of 23 layers, each containing a unique scent reflecting each place or planet. The Clouds and Troposphere smell like ‘water, humidity, wet basement, washed towels’ and the Ozone like ‘the clean smell after a thunder storm.’ The Moon is scented like ‘burnt gunpowder’ and Titan, Saturn’s Moon with ‘sweet and bitter almonds, cherry, slight benzene.’ Mars, an ‘old penny’.
Colour Field
2016
C-print
43 1/4 x 102 1/4 in.
110 x 260 cm
JCG8685.6
KATIE PATERSON
Gravity Released One Unit at a Time
2015
Micro water jet cut sterling silver
4 1/4 x 8 3/4 x 3/16 in.
10.8 x 22.2 x .5 cm
JCG8763.3
KATIE PATERSON
A Solar Flare Containing All the Light in the Universe
2014
Micro waterjet cut sterling silver
4 1/4 x 11 1/4 x 3/16 in.
10.8 x 28.6 x .5 cm
JCG7303.1
KATIE PATERSON
Timepieces (Solar System)
2014
Nine adapted clocks
Each: 17 11/16 x 17 11/16 x 3 11/16 in.
45 x 45 x 9.5 cm
A series of nine clocks that tell the time on all the planets in our solar system, including Earth's Moon. The durations of the day range from planet to planet, from the shortest on Jupiter to the longest on Mercury. Each clock is calibrated to tell the time in relation to the other planets and to the time on Earth.
Mercury 4223 hours
Venus 2802 hours
Earth 24 hours
Moon 708 hours
Mars 24 hours 40minutes
Jupiter 9 hours 56 minutes
Saturn 10 hours 39 minutes
Uranus 17 hours 14 minutes
Neptune 16 hours 6 minutes
JCG7275.6
KATIE PATERSON
Timepieces (Solar System) (detail - Mars)
2014
Nine adapted clocks
Each: 17 11/16 x 17 11/16 x 3 11/16 in.
45 x 45 x 9.5 cm
A series of nine clocks that tell the time on all the planets in our solar system, including Earth's Moon. The durations of the day range from planet to planet, from the shortest on Jupiter to the longest on Mercury. Each clock is calibrated to tell the time in relation to the other planets and to the time on Earth.
Mercury 4223 hours
Venus 2802 hours
Earth 24 hours
Moon 708 hours
Mars 24 hours 40minutes
Jupiter 9 hours 56 minutes
Saturn 10 hours 39 minutes
Uranus 17 hours 14 minutes
Neptune 16 hours 6 minutes
JCG7275.6
KATIE PATERSON
Future Library (certificate)
2014
Two-sided foil block print on paper
View of the certificate's front
JCG7213
KATIE PATERSON
Future Library (certificate)
2014
Two-sided foil block print on paper
View of the certificate's back
JCG7213
KATIE PATERSON
Fossil Necklace
2013
Installation: Kettle’s Yard Gallery & St Peter’s Church, Cambridge, UK
Photographer: Paul Allitt
A necklace comprised of 170 carved, rounded fossils, spanning geological time.
KATIE PATERSON
Fossil Necklace
2013
Installation: Kettle’s Yard Gallery & St Peter’s Church, Cambridge, UK
Photographer: Paul Allitt
A necklace comprised of 170 carved, rounded fossils, spanning geological time.
KATIE PATERSON
Fossil Necklace
2013
Installation: Kettle’s Yard Gallery & St Peter’s Church, Cambridge, UK
Photographer: Paul Allitt
A necklace comprised of 170 carved, rounded fossils, spanning geological time.
KATIE PATERSON
History of Darkness
2010
Ongoing slide archive
21 1/2 x 21 1/2 x 1 1/2 in.
55 x 55 x 4.5 cm
History of Darkness is a slide archive; a life-long project, it will eventually contain hundreds upon thousands of images of darkness from different times/places in the history of the Universe, spanning billions of years. Each image handwritten with its distance from earth in light years, and arranged from one to infinity.
JCG5042
KATIE PATERSON
History of Darkness
2010
Ongoing slide archive
21 1/2 x 21 1/2 x 1 1/2 in.
55 x 55 x 4.5 cm
History of Darkness is a slide archive; a life-long project, it will eventually contain hundreds upon thousands of images of darkness from different times/places in the history of the Universe, spanning billions of years. Each image handwritten with its distance from earth in light years, and arranged from one to infinity.
JCG5042
KATIE PATERSON
History of Darkness (79,582,210 ly)
2010
Embossed archival silver gelatin photograph
19 x 19 in.
48 X 48 cm
The History of Darkness prints are culled from the slide archive; a life-long project, it will eventually contain hundreds upon thousands of images of darkness from different times/places in the history of the Universe, spanning billions of years. Each printed image embossed with its distance from earth in light years, and sequenced from one to infinity.
JCG5042
KATIE PATERSON
As the World Turns
2010
Modified Project Debut record player
37 x 21 3/8 x 20 in.
94 x 54.3 x 51 cm
A turntable that rotates in time with the earth, one revolution every 24 hours, playing Vivaldi's Four Seasons. If performed from beginning to end, the record would play for four years. The movement is so slow it isn't visible to the naked eye, yet the player is turning, imperceptibly.
KATIE PATERSON
Inside this desert lies the tiniest grain of sand
2010
2/5
Black and white photograph on resin coated paper
A grain of sand collected from the Sahara Desert was chiselled to 0.00005mm, using special techniques in nanotechnology. This new minute grain of sand was then taken back to the Sahara and buried deep within its vast desert sands.
KATIE PATERSON
Dying Star Letters
2010
Shelf, archival box, posted letters and envelopes
Dimensions variable
Upon hearing the news that a star has died, the artist writes and posts a letter, announcing its death.
KATIE PATERSON
Dying Star Letters
2010
Shelf, archival box, posted letters and envelopes
Dimensions variable
Installation view at Mead Gallery, University of Warwick, Coventry, UK
Upon hearing the news that a star has died, the artist writes and posts a letter, announcing its death.
KATIE PATERSON
Dying Star Letters
2010
Shelf, archival box, posted letters and envelopes,
Dimensions variable
Installation view at Mead Gallery, University of Warwick, Coventry, UK
Upon hearing the news that a star has died, the artist writes and posts a letter, announcing its death.
KATIE PATERSON
100 Billion Suns
2010
1/10
Custom printed confetti, confetti cannon launcher
Dimensions variable
Storm King Art Center
Photo: Jerry L. Thompson
Gamma Ray Bursts are the brightest explosions in the universe, which burn with a luminosity 100 billion times that of our sun. The confetti cannons created for '100 Billion Suns' contain 3,216 pieces of paper whose colours correspond to each of these cosmic events. Every burst of confetti creates a miniature explosion of all of these vast explosions, in just under a second.
Cannons were set off at regular intervals during the vernissage of the 54th Venice Biennale at a series of unspecified locations around Venice, from major piazzas to the smallest back streets. Each explosion is documented in a photographic archive, showing a unique perspective of Venice during the opening days of the Biennale: 100 Billion Suns (Venice)
JCG4930.01
KATIE PATERSON
100 Billion Suns
2010
1/10
Custom printed confetti, confetti cannon launcher
Dimensions variable
Gamma Ray Bursts are the brightest explosions in the universe, which burn with a luminosity 100 billion times that of our sun. The confetti cannons created for '100 Billion Suns' contain 3,216 pieces of paper whose colours correspond to each of these cosmic events. Every burst of confetti creates a miniature explosion of all of these vast explosions, in just under a second.
Cannons were set off at regular intervals during the vernissage of the 54th Venice Biennale at a series of unspecified locations around Venice, from major piazzas to the smallest back streets. Each explosion is documented in a photographic archive, showing a unique perspective of Venice during the opening days of the Biennale: 100 Billion Suns (Venice)
JCG4930.01
KATIE PATERSON
100 Billion Suns
2010
1/10
Custom printed confetti, confetti cannon launcher
Dimensions variable
Gamma Ray Bursts are the brightest explosions in the universe, which burn with a luminosity 100 billion times that of our sun. The confetti cannons created for '100 Billion Suns' contain 3,216 pieces of paper whose colours correspond to each of these cosmic events. Every burst of confetti creates a miniature explosion of all of these vast explosions, in just under a second.
Cannons were set off at regular intervals during the vernissage of the 54th Venice Biennale at a series of unspecified locations around Venice, from major piazzas to the smallest back streets. Each explosion is documented in a photographic archive, showing a unique perspective of Venice during the opening days of the Biennale: 100 Billion Suns (Venice)
JCG4930.01
KATIE PATERSON
All the Dead Stars
2009
4/4
Laser etched anodized aluminum
78 3/4 x 118 1/8 in.
200.03 x 300.04 cm
A map documenting the locations of just under 27,000 dead stars - all that have been recorded and observed by humankind.
KATIE PATERSON
All the Dead Stars (detail)
2009
4/4
Laser etched anodized aluminum
78 3/4 x 118 1/8 in.
200.03 x 300.04 cm
A map documenting the locations of just under 27,000 dead stars - all that have been recorded and observed by humankind.
KATIE PATERSON
Light bulb to Simulate Moonlight
2008
1/9
Light bulb with halogen filament, frosted coloured shell, 28W, 4500K, log book
33 1/2 x 32 1/2 in.
85 x 83 x 92 cm
Produced with the lighting company OSRAM in series of 'lifetimes', each set contains a sufficient quantity of light bulbs to provide a person with a lifetime supply of moonlight, based on the current average life-span for a human being alive in 2008. (Each bulb burns for 2000 hours, a lifetime contains 289 bulbs).
KATIE PATERSON
Light bulb to Simulate Moonlight
2008
1/9
Light bulb with halogen filament, frosted coloured shell, 28W, 4500K, log book
33 1/2 x 32 1/2 in.
85 x 83 x 92 cm
Produced with the lighting company OSRAM in series of 'lifetimes', each set contains a sufficient quantity of light bulbs to provide a person with a lifetime supply of moonlight, based on the current average life-span for a human being alive in 2008. (Each bulb burns for 2000 hours, a lifetime contains 289 bulbs).
KATIE PATERSON
Langjökull, Snæfellsjökull, Solheimajökull
2007
3/3
Three digital films on DVD
Duration: 1 hour 57 minutes
Installation view from The Modern Art Museum of Fort Worth, Fort Worth, Texas
Sound recordings from three glaciers in Iceland, pressed into three records, cast, and frozen with the meltwater from each of these glaciers, and played on three turntables until they completely melt. The records were played once and now exist as three digital films. The turntables begin playing together, and for the first ten minutes as the needles trace their way around, the sounds from each glacier merge in and out with the sounds the ice itself creates. The needle catches on the last loop, and the records play for nearly two hours, until completely melted.
KATIE PATERSON
Langjökull, Snæfellsjökull, Solheimajökull
2007
3/3
Three digital films on DVD
Duration: 1 hour 57 minutes
Installation dimensions variable
Sound recordings from three glaciers in Iceland, pressed into three records, cast, and frozen with the meltwater from each of these glaciers, and played on three turntables until they completely melt. The records were played once and now exist as three digital films. The turntables begin playing together, and for the first ten minutes as the needles trace their way around, the sounds from each glacier merge in and out with the sounds the ice itself creates. The needle catches on the last loop, and the records play for nearly two hours, until completely melted.
KATIE PATERSON
Vatnajokull (the sound of)
2007
4/5
Bespoke box, neon, iPod, headphones, photographs
38 1/4 x 22 1/2 x 48 in.
97 x 57 x 122 cm
An underwater microphone lead into Jökulsárlón lagoon - an outlet glacial lagoon of Vatnajökull, filled with icebergs - connected to an amplifier, and a mobile-phone, which created a live phone line to the glacier. The number +44(0)7757001122 could be called from any telephone in the world, the listener put through to Vatnajökull. A white neon sign of the phone number hung in the gallery space. The work now exists as an archive of that event.
JCG5723.4
KATIE PATERSON
Vatnajokull (the sound of)
2007
4/5
Bespoke box, neon, iPod, headphones, photographs
38 1/4 x 22 1/2 x 48 in.
97 x 57 x 122 cm
An underwater microphone lead into Jökulsárlón lagoon - an outlet glacial lagoon of Vatnajökull, filled with icebergs - connected to an amplifier, and a mobile-phone, which created a live phone line to the glacier. The number +44(0)7757001122 could be called from any telephone in the world, the listener put through to Vatnajökull. A white neon sign of the phone number hung in the gallery space. The work now exists as an archive of that event.
JCG5723.4
KATIE PATERSON
Vatnajokull (the sound of)
2007
4/5
Bespoke box, neon, iPod, headphones, photographs
38 1/4 x 22 1/2 x 48 in.
97 x 57 x 122 cm
An underwater microphone lead into Jökulsárlón lagoon - an outlet glacial lagoon of Vatnajökull, filled with icebergs - connected to an amplifier, and a mobile-phone, which created a live phone line to the glacier. The number +44(0)7757001122 could be called from any telephone in the world, the listener put through to Vatnajökull. A white neon sign of the phone number hung in the gallery space. The work now exists as an archive of that event.
JCG5723.4
