Interview: Kirsty Whiten

Interview: Kirsty Whiten

Breeder Badlands show at Edinburgh Printmakers

What made you want to be an artist?
The uniform. And the pension plan.

Your new solo show, Breeder Badlands, explores the complexities of the familial unit. What was the original inspiration for the exhibition?
This work is really personal – friends and their small children all appear, close, and often naked. It’s the first time I’m in the paintings. (You would think I could have chosen a better time to paint myself naked than after having two kids.) I really wanted to make images of new mothers and fathers that were more honest, and raw. The post-apocalyptic day-glo forest seemed the only place to set them.

The exhibition includes works created using stone lithography. How did you come to use this medium?
I was looking up work by Jessica Harrison and noticed she had produced a co-published print with Edinburgh Printmakers, a beautiful image of cherubs holding up an eyeball. It was the first I’d heard of the scheme, and I approached them straight away to see if I could try. [Fellow artist] Alastair Clark suggested I try the stone lithography and it suits my technique so well, I love it.

Name one visual artist who should be better known than they currently are?
Jessica Harrison. I recommend her porcelain shepherdesses with horrific injuries.

Kirsty Whiten: Breeder Badlands, Edinburgh Printmakers, Sat 14 Jan–Sat 10 Mar.

Kirsty Whiten: Breeder Badlands

Works on canvas and lithographs dealing with the complexities of the family unit.

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