Shaped Canvas-1

Shaped Canvas

Neemo, 72”W x 55”H X 6”D, Shaped Canvas, Polymer, Canvas, 1979 

Sula, 67  ”  W x 76  ”  H x 6  ”  D, Shaped Canvas, Unprimed Canvas, 1979

Sula, 67W x 76H x 6D, Shaped Canvas, Unprimed Canvas, 1979

Sentra, 66  ”  W x 50  ”  H x 8  ”  D, Shaped Canvas, Polymer, Canvas, 1979

Sentra, 66W x 50H x 8D, Shaped Canvas, Polymer, Canvas, 1979

Zall, 35"W x 37"H x 5"D, Shaped Canvas, Raw Canvas, 1980

Zall, 35"W x 37"H x 5"D, Shaped Canvas, Raw Canvas, 1980

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  Trans Site, 44”W x 70”H x 6”D, Shaped Canvas, Polymer, Canvas, 1979

Trans Site, 44”W x 70”H x 6”D, Shaped Canvas, Polymer, Canvas, 1979

Rista, 74  ”  W x 59  ”  H x 7  ”  D, Shaped Canvas, Polymer, Canvas, 1979

Rista, 74W x 59H x 7D, Shaped Canvas, Polymer, Canvas, 1979

Malla, 54"W x 54"H x 5"D, Shaped Canvas,

Polymer, Canvas, 1980



Raw/White Canvases, Sculpture 1986-1976

Views Through A Classical Prism

Katinka Mann’s canvas-wood con- structions are in a way bamboozlers
hoodwinking us into believing that they are things they are in reality not.  The works are stationary, fixed to and suspended from the walls, and yet they appear to move through the gallery interior as if they were unmann-ed hang gliders or ingenious Concorde miniatures.

Flat areas simulate movement and volume in a variety of directions, invading wall areas and projecting into the observer’s territory.  The two-di-
mensional surfaces are in effect Jekylls and Hydes that can assume
their natural magnitude as well as a third-dimensional look.  The works can be big and yet they defy their size with
an appearance of lightness.

And for as simple as they are, the pieces are charged with romanticism.
The canvas which is unrelieved with design or paint, shows that it has a multiple personality, generating stimu-
lating patterns of light and shadow.  The edges too are exciting phenomena doing a great deal more than coordinating parts of the con- structions.  They control the thrust and energy of the pieces, here softening them, there hardening them, while subtly playing to the textures, masses and volume.

David L. Shirey, The New YorkTimes,
Central Hall Gallery, 11/77


Katinka Mann is a painter-sculptor whose major concerns are formal ones.  Her abstract rather geome-
tric, shape canvas constructions play with space and tonal illusions.  Steadily, over the years, she has carefully refined her concerns and limited her area of interest. Her large as well as her small works are combinations of painting and sculpture, although paint itself is all but absent and not at all necessary.

Working with shaped, stretched canvas, Mann constructs geometric figures which have built into them the illusion of greater space and dimension.  And although they rest quietly against a wall, they seem to thrust both out and back into space with a movement and energy that comes from their design.  “Metra”, a beautifully polished work in stainless steel, even in its title suggests pre-
cision and measurement.  And that, it seems is what Mann’s work is about. In a rather classical style (clean, serene and ordered), these works probe dimensionality, form and space and in a minimal manner describe planes and directions.

Malcolm Preston, Newsday, 11/77
Central Hall Gallery, Port Washington, NY