31 JANUARY – 21 MARCH 2026
Katie Paterson
True North
31 JANUARY – 21 MARCH 2026
Courtesy the artist and Ingleby
Courtesy the artist and Ingleby
Courtesy the artist and Ingleby
silver gelatin print in nine (9) parts
25.2 × 38 cm (each)
Edition 1/3 (+ 2AP)
KP/F 3
In her work True North, Paterson worked with the nanosatellite “Eye,” in collaboration with Sony, JAXA, and the University of Tokyo, to capture images of the Arctic from 600 km above the Earth. Collecting solar energy across polar landscapes, she translates these remote, luminous terrains into a poetic meditation on light, time, and the origins of our planet. The project continues her long-standing exploration of collapsing distance, bringing the vastness of the natural world into intimate, human perspective.
© Courtesy the artist and Ingleby Gallery
hand-touched silver gelatin print
100.2 × 134.4 × 4.5 cm (framed)
3/10 (+2AP)
KP/F 4
A map of the entire known universe was encoded into DNA data; suspended in a drop of water and released into the Goðafoss waterfall in Northern Iceland, and carried from there to the sea.
© Courtesy the artist and Ingleby Gallery
hand-blown glass with pre-solar material to measure 15 minutes
31 × 7.5 × 7.5 cm
AP 4/5 (from a series of 10)
KP/S 13
A time-piece filled with star dust – the fossilised remnants of a time before the Earth was formed. The glass (which measures fifteen minutes of time) includes the most ancient material to exist on Earth, from a time from before the Sun, crushed to a fine powder and contained within hand-blown glass. Included is material brought to Earth from exploding stars as well as remnants from asteroids, fragments of lunar meteorites, Martian dust, and rocks which have travelled for millions of miles.
The Moment was commissioned by the National Glass Centre, Sunderland Culture.
© Courtesy the artist and Ingleby Gallery. Photo credit: Dan Bradica
glass made with sands from deserts across the Earth
54.6 × 36.8 × 2.5 cm
AP 1/3 (from an edition of 12, each unique)
KP/S 16
A window pane made from the sands of every desert on Earth.
The viewer is invited to gaze through a single panel of glass fused from the sands of all the world’s deserts—mountainous, subtropical, coastal, rain-shadow, volcanic, polar, and even fossilised deserts dating back millions of years. Its colour is a pale blue-aquamarine, with delicate bubbling, appearing almost there and not there at the same time—hovering between presence and absence.
© Courtesy the artist and Ingleby Gallery. Photo credit: Phoebe Heurle
urushi lacquer painting made with ash from 10,000 trees
45 × 45 × 1.2 cm
AP 1/2 (from an edition of 10)
KP/P 54
Black lacquer is infused with the ashes of over 10,000 unique tree species. This artwork employs the Urushi method, an ancient Japanese technique that involves harvesting natural resin from the Urushi lacquer tree (Toxicodendron vernicifluum) and meticulously layering it onto surfaces, creating a deep, lustrous finish. Through this process, the ashes are suspended within the lacquer, preserving the immensity of countless trees in a single, luminous surface.
As each layer of resin is applied, it both encases and elevates the ash, transforming it into an eternal record of the trees’ presence. The resulting work is a striking, simple black monochrome, yet within it lies the profound story of tree life across millennia—of forests stretching from ancient times to the present. The wood upon which the Urushi is layered is Ginkgo biloba, a living fossil that has existed for millions of years.
© Courtesy the artist and Ingleby Gallery. Photo credit: Phoebe Heurle
mixed media using pigment ground from the fossilised forms of the first cellular life on earth
53.1 × 53.1 cm / 50.8 × 50.8 × 4.5 cm (framed)
AP 1/2 (from a series of 6)
KP/P 53
A series of elemental paintings takes the form of circles, globes or planets, which are made from pigment derived from materials that embody the physical essence of our world and its origins. The circular format serves as a symbolic pinhole, offering a glimpse into a landscape lost through the passage of time. These works invite reflection on the deep connection between the Earth’s material history and the present moment, encapsulating the very forces that have shaped our world.
〇 I uses pigment from the first ever fossilized cellular life, while 〇 II is made from the ashes of over 10,000 tree species. 〇 III incorporates sand from every desert across the Earth, and 〇 IV uses pigment ground from the fossilised remains of life over billions of years. 〇 V employs salts collected from evaporated oceans, and 〇 VI is made from pre-solar dust; the oldest material to exist on Earth. 〇 VII uses pigment made from the ingredients of stars, and 〇 VIII is ground from the remains of prehistoric seas. 〇 IX incorporates materials from drawn from the Earth’s strata, from core to surface, and 〇 X is made from the building blocks of human life.
© Courtesy the artist and Ingleby Gallery
mixed media using pigment drawn from the Earth’s strata, from core to surface
53.1 × 53.1 cm / 50.8 × 50.8 × 4.5 cm (framed)
AP 1/2 (from a series of 6)
KP/P 55
A series of elemental paintings takes the form of circles, globes or planets, which are made from pigment derived from materials that embody the physical essence of our world and its origins. The circular format serves as a symbolic pinhole, offering a glimpse into a landscape lost through the passage of time. These works invite reflection on the deep connection between the Earth’s material history and the present moment, encapsulating the very forces that have shaped our world.
〇 I uses pigment from the first ever fossilized cellular life, while 〇 II is made from the ashes of over 10,000 tree species. 〇 III incorporates sand from every desert across the Earth, and 〇 IV uses pigment ground from the fossilised remains of life over billions of years. 〇 V employs salts collected from evaporated oceans, and 〇 VI is made from pre-solar dust; the oldest material to exist on Earth. 〇 VII uses pigment made from the ingredients of stars, and 〇 VIII is ground from the remains of prehistoric seas. 〇 IX incorporates materials from drawn from the Earth’s strata, from core to surface, and 〇 X is made from the building blocks of human life.
© Courtesy the artist and Ingleby Gallery. Photo credit: Dan Bradica
mixed media using pigment ground from the remains of prehistoric seas
53.1 × 53.1 cm / 50.8 × 50.8 × 4.5 cm (framed)
AP 1/2 (from a series of 6)
KP/P 56
A series of elemental paintings takes the form of circles, globes or planets, which are made from pigment derived from materials that embody the physical essence of our world and its origins. The circular format serves as a symbolic pinhole, offering a glimpse into a landscape lost through the passage of time. These works invite reflection on the deep connection between the Earth’s material history and the present moment, encapsulating the very forces that have shaped our world.
〇 I uses pigment from the first ever fossilized cellular life, while 〇 II is made from the ashes of over 10,000 tree species. 〇 III incorporates sand from every desert across the Earth, and 〇 IV uses pigment ground from the fossilised remains of life over billions of years. 〇 V employs salts collected from evaporated oceans, and 〇 VI is made from pre-solar dust; the oldest material to exist on Earth. 〇 VII uses pigment made from the ingredients of stars, and 〇 VIII is ground from the remains of prehistoric seas. 〇 IX incorporates materials from drawn from the Earth’s strata, from core to surface, and 〇 X is made from the building blocks of human life.
© Courtesy the artist and Ingleby Gallery. Photo credit: Dan Bradica
mixed media using pre-solar meteorite dust
53.1 × 53.1 cm / 50.8 × 50.8 × 4.5 cm (framed)
AP 1/2 (from a series of 6)
KP/P 57
A series of elemental paintings takes the form of circles, globes or planets, which are made from pigment derived from materials that embody the physical essence of our world and its origins. The circular format serves as a symbolic pinhole, offering a glimpse into a landscape lost through the passage of time. These works invite reflection on the deep connection between the Earth’s material history and the present moment, encapsulating the very forces that have shaped our world.
〇 I uses pigment from the first ever fossilized cellular life, while 〇 II is made from the ashes of over 10,000 tree species. 〇 III incorporates sand from every desert across the Earth, and 〇 IV uses pigment ground from the fossilised remains of life over billions of years. 〇 V employs salts collected from evaporated oceans, and 〇 VI is made from pre-solar dust; the oldest material to exist on Earth. 〇 VII uses pigment made from the ingredients of stars, and 〇 VIII is ground from the remains of prehistoric seas. 〇 IX incorporates materials from drawn from the Earth’s strata, from core to surface, and 〇 X is made from the building blocks of human life.
© Courtesy the artist and Ingleby Gallery. Photo credit: Dan Bradica
ocean water on debossed paper
92 × 92 cm / 94 × 94 cm (framed)
6/10 (+2AP)
KP/D 1
© Courtesy the artist and Ingleby Gallery
kiln dried wood branches gilded with the ashes of 10,000 trees
67.2 × 13 × 6.7 cm
edition of 10, each unique
KP/S 12
A single branch is crafted from the ashes of over 10,000 unique tree species. Silva represents forests from every corner of the Earth—ranging from ancient woodlands to fragile ecosystems, tropical rainforests to arctic taigas.
The artwork encapsulates the immensity of nature in one form, a single branch. It embodies both loss and resilience in its delicate form, capturing the fragile balance between nature’s vulnerability and its enduring vitality.
© Courtesy the artist and Ingleby Gallery
watercolour created with Sumi ink and water drawn from ancient ice cores
64 × 49 cm / 65.9 × 51 × 4.5 cm (framed)
unique
KP/D 2
Watercolors painted with thawed ice age snow.
This series of paintings are created using water drawn from ancient ice cores retrieved from depths of Antarctica, holding traces of Earth’s atmosphere from a thousand years ago.
Using the Suminagashi technique—an ancient Japanese art of “ink floating”—the water is gently guided across the surface, allowing ink to drift and expand organically. The resulting images resemble ethereal landscapes, fluid and ever-shifting. The ancient ice subtly influences the flow of the painting, shaping the movement of ink and water in ways that echo the natural forces of the Earth. The fluid forms evoke melting glaciers, flowing rivers, and atmospheric currents, offering a reflection on the accelerating changes that are reshaping our world.
© Courtesy the artist and Ingleby Gallery
watercolour created with Sumi ink and water drawn from ancient ice cores
64 × 49 cm / 65.9 × 51 × 4.5 cm (framed)
unique
KP/D 3
Watercolors painted with thawed ice age snow.
This series of paintings are created using water drawn from ancient ice cores retrieved from depths of Antarctica, holding traces of Earth’s atmosphere from a thousand years ago.
Using the Suminagashi technique—an ancient Japanese art of “ink floating”—the water is gently guided across the surface, allowing ink to drift and expand organically. The resulting images resemble ethereal landscapes, fluid and ever-shifting. The ancient ice subtly influences the flow of the painting, shaping the movement of ink and water in ways that echo the natural forces of the Earth. The fluid forms evoke melting glaciers, flowing rivers, and atmospheric currents, offering a reflection on the accelerating changes that are reshaping our world.
© Courtesy the artist and Ingleby Gallery
watercolour created with Sumi ink and water drawn from ancient ice cores
64 × 49 cm / 65.9 × 51 × 4.5 cm (framed)
unique
KP/D 4
Watercolors painted with thawed ice age snow.
This series of paintings are created using water drawn from ancient ice cores retrieved from depths of Antarctica, holding traces of Earth’s atmosphere from a thousand years ago.
Using the Suminagashi technique—an ancient Japanese art of “ink floating”—the water is gently guided across the surface, allowing ink to drift and expand organically. The resulting images resemble ethereal landscapes, fluid and ever-shifting. The ancient ice subtly influences the flow of the painting, shaping the movement of ink and water in ways that echo the natural forces of the Earth. The fluid forms evoke melting glaciers, flowing rivers, and atmospheric currents, offering a reflection on the accelerating changes that are reshaping our world.
© Courtesy the artist and Ingleby Gallery
watercolour created with Sumi ink and water drawn from ancient ice cores
64 × 49 cm / 65.9 × 51 × 4.5 cm (framed)
unique
KP/D 5
Watercolors painted with thawed ice age snow.
This series of paintings are created using water drawn from ancient ice cores retrieved from depths of Antarctica, holding traces of Earth’s atmosphere from a thousand years ago.
Using the Suminagashi technique—an ancient Japanese art of “ink floating”—the water is gently guided across the surface, allowing ink to drift and expand organically. The resulting images resemble ethereal landscapes, fluid and ever-shifting. The ancient ice subtly influences the flow of the painting, shaping the movement of ink and water in ways that echo the natural forces of the Earth. The fluid forms evoke melting glaciers, flowing rivers, and atmospheric currents, offering a reflection on the accelerating changes that are reshaping our world.
© Courtesy the artist and Ingleby Gallery
watercolour created with Sumi ink and water drawn from ancient ice cores
64 × 49 cm / 65.9 × 51 × 4.5 cm (framed)
unique
KP/D 6
Watercolors painted with thawed ice age snow.
This series of paintings are created using water drawn from ancient ice cores retrieved from depths of Antarctica, holding traces of Earth’s atmosphere from a thousand years ago.
Using the Suminagashi technique—an ancient Japanese art of “ink floating”—the water is gently guided across the surface, allowing ink to drift and expand organically. The resulting images resemble ethereal landscapes, fluid and ever-shifting. The ancient ice subtly influences the flow of the painting, shaping the movement of ink and water in ways that echo the natural forces of the Earth. The fluid forms evoke melting glaciers, flowing rivers, and atmospheric currents, offering a reflection on the accelerating changes that are reshaping our world.
© Courtesy the artist and Ingleby Gallery
watercolour created with Sumi ink and water drawn from ancient ice cores
64 × 49 cm / 65.9 × 51 × 4.5 cm (framed)
unique
KP/D 7
Watercolors painted with thawed ice age snow.
This series of paintings are created using water drawn from ancient ice cores retrieved from depths of Antarctica, holding traces of Earth’s atmosphere from a thousand years ago.
Using the Suminagashi technique—an ancient Japanese art of “ink floating”—the water is gently guided across the surface, allowing ink to drift and expand organically. The resulting images resemble ethereal landscapes, fluid and ever-shifting. The ancient ice subtly influences the flow of the painting, shaping the movement of ink and water in ways that echo the natural forces of the Earth. The fluid forms evoke melting glaciers, flowing rivers, and atmospheric currents, offering a reflection on the accelerating changes that are reshaping our world.
© Courtesy the artist and Ingleby Gallery
micro-waterjet-cut Sterling Silver
10.8 × 23.9 × 0.3 cm
Edition 3/3 (+1AP)
KP/P 41
A lifelong series, the Ideas are artworks that may or may not come into being. These short haiku-like sentences take shape in the imagination of whoever reads the words and so become an expression of the idea itself.
micro-waterjet-cut Sterling Silver
10.8 × 18.6 × 0.3 cm
Edition 3/3 (+1AP)
KP/P 46
A lifelong series, the Ideas are artworks that may or may not come into being. These short haiku-like sentences take shape in the imagination of whoever reads the words and so become an expression of the idea itself.
micro-waterjet-cut Sterling Silver
10.8 × 28.7 × 0.3 cm
Edition 3/3 (+1AP)
KP/P 47
A lifelong series, the Ideas are artworks that may or may not come into being. These short haiku-like sentences take shape in the imagination of whoever reads the words and so become an expression of the idea itself.
micro-waterjet-cut Sterling Silver
10.8 × 29.6 × 0.3 cm
Edition 1/3 (+1AP)
KP/P 48
A lifelong series, the Ideas are artworks that may or may not come into being. These short haiku-like sentences take shape in the imagination of whoever reads the words and so become an expression of the idea itself.
micro-waterjet-cut Sterling Silver
10.8 × 28.2 × 0.3 cm
Edition 1/3 (+1AP)
KP/P 49
A lifelong series, the Ideas are artworks that may or may not come into being. These short haiku-like sentences take shape in the imagination of whoever reads the words and so become an expression of the idea itself.
micro-waterjet-cut Sterling Silver
10.8 × 29.5 × 0.3 cm
Edition 3/3 (+1AP)
KP/P 50
A lifelong series, the Ideas are artworks that may or may not come into being. These short haiku-like sentences take shape in the imagination of whoever reads the words and so become an expression of the idea itself.
micro-waterjet-cut Sterling Silver
10.8 × 32.1 × 0.3 cm
Edition 3/3 (+1AP)
KP/P 51
A lifelong series, the Ideas are artworks that may or may not come into being. These short haiku-like sentences take shape in the imagination of whoever reads the words and so become an expression of the idea itself.
micro-waterjet-cut Sterling Silver
10.8 × 28.2 × 0.3 cm
Edition 3/3 (+1AP)
KP/P 52
A lifelong series, the Ideas are artworks that may or may not come into being. These short haiku-like sentences take shape in the imagination of whoever reads the words and so become an expression of the idea itself.