Kathy MacCarthy – Bellowed Call

Peer, 97-99 Hoxton Street
Kathy MacCarthy – Bellowed Call image
Covid 19 Information
Safety Guidelines at PEER
It is not necessary to book an appointment to visit the exhibition, however in order to manage the visitors’ flow only four people will be allowed into the gallery at any one time. Children must be supervised by an adult at all times and should not, under any circumstance, be allowed to touch any surface or artwork in the gallery.

We request that all visitors wear face coverings when visiting the gallery to protect our staff and others. Additionally, a contactless hand sanitiser will be installed at the entrance, and we ask all visitors to make use of this upon arrival.

Exhibition text will be displayed on the gallery wall and a link will be provided to our website where further information will be accessible via your personal devices.

Please note there will be no access to PEER’s communal spaces including toilets.

If you have any questions about any of these safety measures in place, please send us an email at [email protected]

We look forward to safely welcoming you back to PEER.
Event has ended
This event ended on Saturday 24th of October 2020


Venue Information

Hoxton Street, N1 6QL

Nearest Stations

Hoxton 0.24 miles



Please note: as you will no doubt be aware COVID-19 is leading to many events being cancelled or postponed. Please check with the organisers of any event listed here to confirm it is going ahead as planned.

Please read our reopening COVID–19 guidelines before visiting the gallery.

Kathy MacCarthy grew up in post-industrial Liverpool in the 1960s and 70s. Her memory of the landscape of abandoned domestic and manufacturing buildings throughout the city, coupled with the development of her interest in the body as form and mass has continued to provide a rich foundation for her work. After completing her MA in Sculpture at the Royal College of Art in 1983, MacCarthy worked with a range of media including wood, aluminium, plaster and latex. In 2008, after following a part-time one-year ceramics course at a nearby community college, she alighted on a material that enabled her to have a more immediate and visceral engagement that best suited her ambitions for the work.

All of the sculptures at PEER have been produced in the past five years. Many of them obliquely reference vessel shapes – a vase, jug or amphora perhaps – but MacCarthy distorts, mutates and renders them useless. Some of these shapes look collapsed, exhausted and lie prostrate. Undulating glazed or unglazed ceramic have the look of folds of flesh or, conversely, suggest the mass-defying rippling of rolling hills. A number of MacCarthy’s works are made in several sections and then assembled. The dimensions of each section are determined by the size of her kiln in her home studio. Scale is therefore an important factor, and is not seen so much as a constraint to the production of the work, but simply a parameter.

In addition to clay, MacCarthy works with fibreglass and jesmonite, which can also be shaped by hand rather than by tool. These lighter materials enable her to achieve shapes and forms that can be balanced and extruded in ways that clay does not allow. She has said: “The physicality of materials and making objects has increasingly yet slowly grown more important to me. Whether it is clay with its malleable and slippery texture or fibreglass with its strength and rigid texture I struggle, tear apart, stick and rebuild to invent a place where only these materials can belong." For MacCarthy these works instil both a kind of hapless humour and playful pathos. With an earnest sense of the impossibility of her ambition, she has said that she wants her work to be “about everything”.

About Kathy MacCarthy

Kathy MacCarthy has a BA in Fine Art from Brighton Polytechnic (1980) and an MA in Fine Art Sculpture from the Royal College of Art, London (1983). She has exhibited widely over the last 30 years and taken part in various residency programmes and led workshops at a number of galleries including the Whitechapel Art Gallery, the National Portrait Gallery and Camden Art Centre. She has taught at a wide range of art schools since the mid 1980s, including in London at, Central St Martins, and Chelsea School of Art, and at Falmouth School of Art. In 2015 She was elected as a member of the Royal Society of Sculptors.



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