“Her canvas wood constructions 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 unmanned hang gliders or ingenious Concorde miniatures. 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 stimulating patterns of light and shadow.”
New York Times, “ViewThrough A Classical Prism”,
David L. Shirey, Central Hall Gallery, ll/77
"Homage to the Hexagon" might well be the title of this show, for that six-sided polygon is the basic form of all of the artist's work The constructions and they are clean and well crafted are designed to deceive. When viewed from the front they appear flat and two dimensional, but as the viewer changes his position the dimensionality of the work emerges. Exeberent is one of the best of these. Chastely white, with the lateral planes painted yellow; this is a handsome piece. The graphics, for the most part intaglio prints also are hexagonal. Thy are interesting as they demonstrate the effect of color on space, shape and movement. The artist has combined acquaint with low relief embossing to create a visually interesting work. In other graphics the artist has taken several copies of the same print and by cutting out parts and arranging them in three dimension space, she not only works with collage but also deals with real spatial relationships. Sometimes a print is fixed on a plastic form (graphmobile), naturally a hexagon, suspended in space so as to pick up reflections from surrounding objects. Katinka Mann is inventive and willing to experiment. She has narrowed the focus to one form, but she has explored it in many directions.
Newday, "Gallery Features Six-Sided Figures"
Malcolm Preston, Baiter Gallery, 2/1969