These works explore the ambiguity of distance and reveal the connectivity of all water, every molecule past present and future connected, in every environment. Water, is it salt or fresh? Coastal, urban, outback, solid, liquid, gas, drought or flood? Water itself, or the path water has carved through the landscape?

Streams, rivers, lakes, oceans, rock pools, each one different from the last, yet the patterns that emerge are so similar that details of rock pools and aerial images of river systems seem interchangeable. The bodies of water depicted by Catherine seem to blur into one another, occupying a liminal space between land, water and its absence. The works encourage us to consider more sharply what it is that we are looking at and why. The underlying fact that becomes clear; water is connected and at risk.

The metal surfaces she has used allows for the paint to slip over the surface, with layers of paint skimming over one another, creating rich textures and patterns. The sense of visual distance, like the feeling of flying over a landscape cut through by waterways, becomes a metaphor for our distance from the issues of water consumption, degradation, and overarching environmental change.

Tides inundate and expanses of water seem to go on and on forever. Catherine invites the viewer to become immersed within these landscapes and consider the cause and affect between the imagery.

Catherine Fitz-Gerald, 'Waterways 2020', 2020, video, 14 min: 16 sec. Courtesy the artist.