Katie Cuddon was born London, 1979.

Cuddon works across a range of media but primarily makes drawings and painted clay sculptures that frequently represent what seems to be a ‘detritus’ of the human body as representative of its psychological conditions, following in the same classical tradition as artists such as Hans Josephsohn. Texture and colour jostle with each other, each vying for a role that both describes and conceals her work, as pummeled and kneaded surfaces and semi-recognizable forms are washed over, swathed, and bound-up within themselves. Cuddon’s ‘takings’ of the human body elicit a series of semi-conscious responses in the viewer that are felt far more on an emotional level than one that can immediately be explained. Combined with this seeming serious, shy and corporal approach, the subject matter of her works frequently steps into a realm of dark humour, tempered by the Surrealistic love of game playing that merges (for instance) the public with the private.

In his recent text ‘Trying to Describe Katie Cuddon’s Work is Like…’, Colin Perry writes: Cuddon’s works are, perhaps, both shy and barbed. They hook us in with anthropomorphic qualities, symbolic signification and base jocularity. But they rapidly withdraw to a level of material abstraction that’s hard to capture with language.

Cuddon graduated from the Royal College of Art in 2006.  In 2011 Cuddon was awarded the inaugural ceramics fellowship at Camden Art Centre and in 2008/2009 Cuddon was the Sainsbury Scholar in Sculpture and Drawing at the British School at Rome.  Selected exhibitions include: Spanish Lobe, Camden Arts Centre, 2011; I No Longer Know What The Money Is (solo), Alma Enterprises, London, 2010; New Symphony (group show), Simon Oldfield, 2010; Overshoot and Collapse, Globe Gallery, Newcastle Upon Tyne 2008; and Jerwood Drawing Prize, (touring exhibition)2005.