Natasha Kidd is currently undertaking a practice based D-phil at the Ruskin School of Fine Art, University of Oxford.
The title of her research is: Machines that make art: An exploration of the practice and history of the removal of the artists expressionist touch through the use of automatic or mechanical modes of production.
Situated within an extended language of painting, Natasha's work has continually involved the production of systems machines or that paint. This practice based research emerges out of her desire to make visible the process, action and event of painting itself and to place the viewer directly in the site of production.
The Painting Machines (2000-2005) use a motor to dip a canvas into a vat of white paint. With each mechanical dip a new layer of paint adheres to the canvas surface. Dipped for sustained and varying lengths of time, no two paintings from the machines have ever been the same. Questioning the meditative silence of the act of painting the machines raises a provocative inquiry around the diminished responsibility of the artist, authenticity and authorship.
Over-Flow (Celeste Painting Prize 2006), Flow and Return (Lowry Commission 2006) and Rough-In (Arts council funded 2010) are painting systems developed with reference to the structural practicalities of domestic plumbing. These works feed paint through a network of copper pipes to a hidden reservoir within a specifically constructed aluminium panel. As this reservoir fills, the paint overflows through holes cut in the surface. The residual paint is fed back to a tank to start its journey again. Animated by the paint that flows down their surface these, paintings are in constant motion, whether or not they are encountered and until the machine is switched off.
In the more recent Inflate systems (commissioned by Camden Arts Centre 2010), a peristaltic pump moves paint from a tank through a plastic tube into a paintings belly. Filling the paintings from the inside out, the paint forces the canvas to expand until it seeps out of holes cut in the surface of the linen. With each action of the pump the paint drips down the front of the painting to collect in the tank below. These works hang on the wall like an image but function like an object protruding into the spectators visual field. When they are stopped each painting acts as a memory of its own performance. When it dries on the surface the paint seems to capture the moment of its previous liquidity.
No matter how rigorously designed the systems are, they become something that can never be fully anticipated.
Since completing her MFA in painting at the Slade School of Fine Art in 1998, Natasha has exhibited her work widely throughout the UK. Her first solo show Microswitch was at The Houldsworth Gallery, London.
Group exhibitions have included:
- Same as it Ever Was, Chelsea Space, London
- New Contemporaries at the first Liverpool Biennale and The Beaconsfield Gallery, London
- One Mile's Time, Temple Bar Gallery Dublin
- British Abstract Painting, Flowers East Gallery, London
- Playing Fields, Laing Gallery, Newcastle and
- Wunderkammer, The Usher Gallery, Lincoln.
Commissions have included Flow and Return for The Art of White Exhibition at the Lowry. More recent projects include:
- In With The New, at Camden Arts Centre (2010)
- Mob Remedies (2010) at Primo Alonso, London
- Interior Life (2010) at the Herbert Read Gallery, Canterbury which included a publication and artist talk about extended painting practice and
- Uncommon Ground at Meinblau Gallery, Berlin.
In addition to this studio based research, Natasha is part of a pedagogic research group at Tate Modern. The group aims to look at the role and value of artists working within educational settings and consider how working with artists and artists practices genuinely informs the content and structure of learning at Tate and beyond. As part of this project she has developed, in collaboration with artist Jo Addison, a publication/resource to co-inside with the John Baldessari exhibition and a number of seminars for artists/students and teachers. In Spring 2012, Addison and Kidd developed the resource 'e', to accompany the Alghiero Boetti retrospective at Tate. In December 2012 Addison and Kidd's live resource event at Tate Modern expanded the methodology established by 'e'. For two days, live in the gallery they invited the audience to join them in the research/production of a continually changing educational resource. Not pre-written at the point of dispatch, the live resource promoted responsive interactions between artists, audience and art objects.
Natasha is a senior lecturer in Fine Art Painting at the school of Art and Design.
She is a fellow of the Higher Education Academy.
She is an associate lecturer on BA Fine Art at Chelsea College of Art and Design and has taught as a visiting lecturer across disciplines at both undergraduate and postgraduate level at the University of Lincoln, Nottingham Trent University, Newcastle School of Art and Design and the Royal College of Art.
- BA Slade School of Fine Art, University College London (UCL)
- MFA Slade School of Fine Art, University College London (UCL)
- PG Cert in learning and teaching CTLAD, University of the Arts
- PG Cert in Learning and Teaching (Distinction), CTLAD, University of the Arts, London
- Fellow of the Higher Education Academy, January 2008
- Fine Art Painting
Research and academic outputs
Regulation, resistance, readiness and care: what can be learnt by performing the peripheral behaviours of artists?
Addison, J and Kidd, N (2019) 'Regulation, resistance, readiness and care: what can be learnt by performing the peripheral behaviours of artists?' In: Campbell, L, ed. Leap into action: critical performative pedagogies in art & design education. Peter Lang, New York, NY. ISBN 9781433166402
Addison, J and Kidd, N (2017) 'Live resource.' In: Turvey, L, Walton, A and Daly, E, eds. In site of conversation. Tate London Learning, London, pp. 67-145. ISBN 9781849764735
Addison, J and Kidd, N (2018) Inventory of behaviours. In: RGS-IBG Annual International Conference, 28 - 31 August 2018, Cardiff, Wales.
Addison, J and Kidd, N (2017) No working title. In: Tate Modern Workshops, 27 January 2017, Tate Modern, London, UK.
Kidd, N (2016) A case for digging: curious about care. In: Arts Public Lecture Series, 10 May 2016, University of Wolverhampton, Wolverhampton, UK.
By instruction: 'No Working Title'... Misunderstanding, misinterpretation, failure and disappointment. The unstable intersection between what is instructed and how it is interpreted
Kidd, N and Addison, J (2016) By instruction: 'No Working Title'... Misunderstanding, misinterpretation, failure and disappointment. The unstable intersection between what is instructed and how it is interpreted. In: The Hidden Curriculum: Annual Symposium for Fine Art Educators, 22 January 2016, London Metropolitan University, London.
Kidd, N (2015) Curious about care. In: Painting in Time Symposium, 4 July 2015, The Tetley, Leeds.
Kidd, N, Addison, J and Dunseath, J (2014) About making. In: Noticing Making Summer School, July 2014, Tate Modern, London.
Taylor, A, Cockayne, A, Kidd, N and Nicol, G (2014) Artists, makers, and museums in the 21st century. In: Futurkammer, 7 - 15 June 2014, The Holburne Museum, Bath.
Kidd, N (2021) Curious about care (2014-2018) [multi-component output with contextualising information]. Online.
Kidd, N (2017) Three screen prints. In: Work Work, Tintype Gallery, London, UK, 2 November - 2 December 2017.
Kidd, N (2016) The Greater Taipei Biennial of Contemporary Arts: Dé-coïncidence [group exhibition]. National Taiwan University of Art, New Taipei, Taiwan, 7 November 2016 - 14 January 2017.
Kidd, N (2016) Overfill. In: Oriel Davies Open: Painting, Oriel Davies, Newtown, Wales, 16 April - 15 June 2016.
Kidd, N (2015) Overfill. In: Painting in Time, The Tetley, Leeds, 3 April - 5 July 2015.
Kidd, N (2014) A little patch of yellow wall [group exhibition]. The Lion and Lamb, Hoxton, London, 25 April - 17 May 2014.
Kidd, N (2014) Inflate automated. In: Test Run, Modern Art Oxford, Oxford, 2 May - 8 June 2014.
Kidd, N (2012) Inflate. In: Royal Academy Summer Exhibition, Royal Academy, London, UK, 4 June - 12 August 2012.
Kidd, N (2012) Inflate. In: Uncommon Ground, Meinblau Gallery, Berlin, Germany, 11 February - 31 March 2012.
Kidd, N (2012) Bag trails. In: The Devil Finds Work for Idle Hands, Toomey Tourell Fine Art, San Francisco, CA, 1 November – 15 December 2012.
Kidd, N (2010) Inflate (detail). In: (detail), Transion Gallery, London, 20 September-12 October 2014.
Kidd, N (2009) Inflate series. In: In with the New, Camden Arts Centre.
Kidd, N (2006) Overflow. In: Celeste Art Prize, Old Truman Brewery Complex, London, 23 - 28 May 2006.
Kidd, N (2006) Overflow. In: A Machine Aesthetic, TheGallery, Arts University Bournemouth; Transition Gallery, London; Gallery North, Newcastle, 31 January - 27 February 2014.
Kidd, N (2005) Flow and return. In: The art of white: an unique exhibition exploring the use of white in historic and contemporary art, The Lowry Gallery, Salford, 12 November 2005 –17 April 2006.
Kidd, N (2005) For and from [group exhibition]. Metropole Galleries, The Leas, Folkestone, 28 October - 4 December 2005.
Kidd, N (2005) Wunderkammer: the artificial kingdom [group exhibition]. Usher Art Gallery, Lincoln, UK, 1 October 2005 - 8 January 2006. ISBN 0953923843
Kidd, N (2004) Rising main. The Bonington Gallery, Nottingham. ISBN 1842330470
Kidd, N (2012) Live Resource: collaborative 2-day live participatory performance event at Tate Modern. Tate Modern, London, UK, 13-14 December 2012.
Kidd, N and Addison, J (2021) The Habits of Artists (2014-2019) [multi-component output with contextualising information].
Kidd, N and Addison, Jo (2014) The Noticer: Live Resource.
Addison, J and Kidd, N (2012) e. Tate Modern Learning.