Katie Tindle

Katie is an artist, organiser and educator living in London, originally from the North East of England. Her practice is based in writing, installation using moving image and sound, and web technologies. This work centres on wellness/illness, the body, poetics, feminist thought and data justice. Tindle’s curatorial practice is based around democratisation and demystification of art spaces, both online and in person. Tindle studied at Central Saint Martin’s (CSM) and Goldsmiths University of London, and currently works at CSM and the Society for Research into Higher Education, and is a member of the artist collective in-grid (in-grid.io).

This page contains works made October 2020 - March 2021. It is a representative of a developing practice and includes sketches, works in progress and documentation of completed projects.

At the beginning of the year, as lock-down came into force in the UK as a result of the Corona Virus pandemic, I, like many people, suffered from anxiety and poor mental
health. Around the same time I began receiving more advertisements for technologies which claim to help you relax improve your mental health. Although some may benefit from products of these types, I am sceptical of efficacy of many of these technologies, and the wellness industry as a whole. With this work I try to create a space which emulates the tropes of these apps and experiences, which often include meditative sound and references to nature, but also heightens them to a point where they
become sickening or unnerving. The atmosphere in this space is calming on the surface but bellies a more critical message. This claustrophobic, potentially
disorientating roomlike space, is experienced in virtual reality.

Light box is a drawing tool. A user draws a pattern by lighting a series of RGB LEDs.
The pattern is directed by turning two knobs, a mechanism similar to that of an etch-a-sketch. This pattern is visible on the top of the lid of the Light Box. On the inside side of the lid of the Light Box, UV LEDS also light up in response to the knobs being turned.
The UV LEDs shine onto an object held inside the body of the Light Box - for instance a piece of paper - primed with cyanotype fluid.

Often when discussing making electronic artworks we talk about future proofing the device and ensuring its longevity. It was my aim to make a tool which intentionally produces something fragile.
The box produces a drawing which cannot be observed until it has been completed. Exposing a cyanotype print to light will cause it to continue to develop, and like exposing a roll of photographic film to sunlight, could obscure any pattern drawn on it. The final image therefore has to be fixed in the dark. As the drawing cannot be seen before it is fixed, the user is taking a risk when choosing to end the process. A cyanotype drawing made using the Light Box could be fixed after having been exposed to one pattern, or else multiple patterns can be layered over each other.

I am currently developing a method of translating generative particle systems into real life objects using traditional craft techniques - specifically creating crotchet pattern out of code.

htr 2, tr 5, tr 5, htr 2, tr 2, dc 5, increase 1, htr 1, htr 4, tr 4, dc 1, tr 4, dc 3, dc5, increase 1, dc 1, dc 4, dc 4, dtr 4, increase 1, dc 4, dc 5, dc 4, htr 4, dc 3, dc 1, dtr 5, dc 4, increase 1, increase 2, dc 3, dtr 3, dc2tog, dtr 1, dtr 5 tr 5, dc3tog 3, increase 1, dtr 5, dc 1, dc 2