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False Memory

Katharine Fry

Katharine Fry

Katharine Fry, You could have been anyone to me, 2020, film still ©Katharine Fry

 

Katharine Fry’s videos reveal a subject haunted by nostalgia.  The female protagonist appears to be contained by a domestic space with which she both attempts and resists a physical merger, displaying a desire for both connection and separation.  The two women, perhaps the younger and the older described within the song, merge into and grow out of the legs of a dining table, their impossible bodies incapable of surviving their truncated condition.  Treating the table as a maternal, or a lover’s, body, they move through stages of oral development, sucking, licking, and biting the table legs with unmistakable sexual fervour.  The empty house once belonged to Fry’s grandparents and the interiors live on only in her artwork.  Through this familiar setting, now rendered unfamiliar, Fry constructs a new family album of false memories.

 

London based Katharine Fry works with performance and video. Fry recently completed a practice-based PhD at Goldsmiths and has exhibited both nationally and internationally.