Kate Bohunnis

Statement

Kate Bohunnis’ practice prioritises an inventive approach to materials and their ability to communicate conceptual concerns, with a focus on gender, identity and queer methodologies. In recent projects, Bohunnis has turned their attention to the complexities and trappings of pleasure, from a personal and neuroscientific standpoint. They are also interested in spiritualism as a vehicle for exploring family history and inventive methods of psychological support. In form, Bohunnis’ work often leans toward the abject as a way of negotiating bodily and political identities. They are known for producing pared back, large-scale sculptural installations using metals in contradictory and deliberate dialogue with wax, silicone, latex, marble, leather and textiles. Their works are often highly charged with allusions to power, dominance, subjugation and containment.

GlogauAIR Project

During their residency, Bohunnis will begin a new research project, Mother Divine. Mother Divine looks at spiritualism as a vehicle for exploring family history, inventive methods of psychological support and connections between spiritual practices and queer methodologies. Research areas will include psychology in relation to faith outside theological frameworks; non-traditional ideas of family; alternative social structures; and the growing awareness of spiritualism in art.

Installation and Sculpture

CV Summary

Selected Solo Exhibitions

• 2023 Dopamine, STATION, Melbourne
• 2022 house that heaves, COMA, Sydney
• 2021 Mucosa w/ Kate Power, Outer Space, Brisbane
• fill me up and make me useful, STATION Melbourne
• 2020 this soft machine, Firstdraft, Sydney

Selected Group Exhibitions

• 2023 Living Patterns, curated by Ellie Buttrose, Queensland Art Gallery of Modern Art
• Body Without Organs, curated by Anja Loughhead, Canberra Contemporary Art Space
• Figuring Ground, curated by Abbra Kotlarczyk, Grafton Regional Gallery, NSW
• 2021 Ramsay Art Prize 2021, Art Gallery of South Australia
• 2020 If the future is to be worth anything: curated by Rayleen Forester and Patrice Sharkey, Adelaide Contemporary Experimental

Gallery