Katri Walker, Visual Artist

Since 2002, Katri has been living between Mexico City and Glasgow where she graduated from the Master of Fine Art programme at Glasgow School of Art in 2007.

She has a cross-disciplinary practice, working predominantly with video installation and has exhibited in group shows and had her work screened throughout the U.K, in Mexico, Australia, Iceland, The Netherlands, Italy, Germany, Sweden and the U.S.A.

Recent projects include a group show at Women and and their Work Gallery in Austin, Texas (Nov 2009 - Jan 2010), a solo exhibition Sometimes it makes me wonder what I fought for at +44 141 Gallery in Glasgow in September 2009, a studio residency with exhibition at the Perth Institute of Contemporary Arts [PICA] in Western Australia, completed in January 2009 and In Transit, a duo-show alongside Dani Marti as part of the 2008 Glasgow International Festival of Visual Art.

Upcoming projects include a new body of video work investigating the cyclical nature of time and history through the iconic symbol of the cowboy, assisted by Peacock Visual Arts in Aberdeen, Scotland, an international group video show, Cine de Barrio, in Maracaibo, Venezuela, curated by Paco Barragán in March 2010 and the Salon Video Art Prize at Matt Roberts Arts also in March.

Katri is also the Creative Director of the Dos Equis Series, an ongoing collective project showcasing emerging Mexico-based visual artists in the UK.

I have an interest-led art practice that tries to grasp with the relational and serendipitous nature of life; mind vs body, matter vs spirit, good vs bad, whilst maintaining the awareness that none of these things are truly separate from one another, everything contains its opposite. Life contains death. Death contains seeds for new life. Joy contains the seeds of sadness. Sadness contains the seeds of joy.

Working on a project basis and predominantly with audiovisual installations, my work tries to understand the continuous possibility for new forms of communication. I look to capture nuances of the interplay between the ordinary and the extraordinary in the everyday, be they embedded in passing moments, particular people or communities.

It's important for me to find value in the perhaps otherwise overlooked, and to turn that into an emotive experience for an audience. Through embracing certain documentary techniques while also referencing portraiture, my interest lies in creating an intimate dialogue with my subject matter, but one that can be understood and appreciated on a universal level.

Documentary itself is about the realities that cannot be represented in fiction but paradoxically it always involves some fictional element. My work is not so much about this opposition between fiction and reality but more so about embracing them both in order to draw the viewer into a story, a life, a conversation or simply a moment.