Soulscapes: a Journey in Colour. 

Woman on the Pier
Catherine Gauci Abstract Artist.jpg
Born in 1969 in Shrewsbury, England, she began painting at 16, large and abstract. As a child her love of the countryside where she grew up was hugely important in instilling in her a strong sensitivity to nature and place. As a teenager her artist brother’s contemporary artworks had a huge influence and opened her mind to what art could be. She travelled around America at this time, visiting many of the modern art galleries and this was a major influence which would stay with her. Returning to the U.K to complete a B.A. degree in Art with Art History and Psychology, her time in the studio was paralleled by her choice to study American modern art, particularly the Abstract Expressionists and Colourfield artists. Later, time living in East Africa and also on an Art Therapy diploma course gave her the time to continue to develop her work as a painter. She had her first solo exhibition in her home town in 2001 and later also in Malta in 2007, shortly after moving to live there. She decided to commit full time to painting in 2017 and works from her studio in her home village on the island of Gozo.
'Whilst painting I am aware of a wish to translate a sense of light and veiled colour onto the canvas and a tangible sense of space within which the viewer can feel, look into and breathe. In abstract work,  usually with few recognizable reference points for the viewer to attach to, the viewer is freed to connect to the work on a deeper level as a 'form of feeling' or mood.  My love of the Gozo landscape, the Maltese island where I live, gives me inspiration on a daily basis due to the particular colours and quality of light here, from rich yellow ochres of the limestone rock to the translucent Mediterranean hues of the sea. Each of my paintings for me is a journey and an adventure. I build up many thin layers in oils together with a beeswax thickening medium with the use of rollers and scrapers, which are then partly dissolved or scraped into with various mark making tools to create texture, depth and interest. This gives each painting a rich history of surface. Contrasting layers and ‘veils’ of colour, opaque then translucent are applied in a rhythmic process. This process, often taking weeks or even months, is one of discovery for me, with a real joy simply in the use of colour itself and an aim to convey the incredible beauty I see around me.