HOMO FABER 2026
Katharine Gorham
©All rights reserved
Katharine Gorham
©All rights reserved
Katharine Gorham
©All rights reserved
Katharine Gorham
©All rights reserved
Katharine Gorham
©All rights reserved
Katharine Gorham
©All rights reserved

Katharine Gorham

Linocut printmaking

London, United Kingdom

Walls with nature's imprints

  • Katharine specialises in hand carving giant lino prints onto fabric
  • Her sources of inspiration include nature and her own indoor plants
  • She works with natural pigments and toxin-free materials

Katharine Gorham specialises in large scale lino printing onto fabric. By exploring pigment transferring, she studies the form of nature and plants. Katharine exclusively works with natural compostable material for her giant lino prints, including traditional linoleum, itself made from linseed oil, on its natural flax woven backing. She completed an art foundation course followed by a first-class bachelor's degree with honours in textile design, and worked for decades as a printed textile designer. "My work is informed by my interest in conservation of natural habitats and plants. It aims to bring drama and positivity into spaces, transforming interiors with colour sensibility and energy.” Katharines' experimental approach comes from her years exploring many techniques including screen printing, dyeing, batik, quilting, shibori and embroidery.

Katharine Gorham is an expert artisan: she began her career in 1995 and she started teaching in 2020.

INTERVIEW

I have always loved drawing and hand sketching. I found that the transfer of colour by lino printing was a way of experimenting with colour block areas on fabric. I am able to create textures on large printed flat spaces, which makes each piece unique.

I have experimented extensively with inks and materials for consistency, texture and transfer techniques on a large scale. The process entails attaching lino to blocks to create repeatable prints. I had to find my own techniques of manipulating the fabric substrate for transferring, and I require specific gouges, skills and energy for carving.

For me, it is extremely important to use natural pigments without toxins or unhealthy runoff. I work with materials that are plastic free in both my process and packaging. I aim to promote biodiversity in my work subjects and highlight climate change.

A lot of physical movement and time are required in the printing, gouging and carving processes. The large piece of natural fabric has to be placed perfectly onto the surface and transferring the ink pigment takes a tremendous amount of physical exertion and time.

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