Words by Christina Sanders Katie Paterson is arguably the most exciting young artist this country has seen in a very long while. She creates multi-media artworks that are literally out of this world; she sends music to the moon and buries microphones in dying glaciers that are linked up to phones so that anyone can call and listen live. She has a personal vision that is almost inconceivable in it remits. She works in a way which mixes the scientific experimentation with a Romantic and wistful notion creating a modern kind of poetry within her work. She seems unable to limit herself: For her there is nothing that cannot be done. Katie is still really young, having only graduated from the Slade in 2007, and has just won the first ‘Creative 30’ award, a scheme set up by The Independent and Vice magazine, to find a new generation of creative talent within the UK. Thousands of brilliant, talented under 30s entered and it was Katie that was crowed the winner – so, there you go, she is officially the most talented person under 30 in the country, and I for one am not going to argue with that result! I first heard of Katie Paterson when I came across a show of hers, at Room, a small gallery just of Kingsland Road in London. It was her second solo show, Langjökull, Snæfellsjökull, Solheimajökull, and there, she presented the viewer with a instillation of three television screens each displaying a film, of a record that was made out of ice being played on a turntable. The sound coming from each of them was the recorded noises of dying glaciers and the water used to make the ice records was from those glaciers. This piece of work has it all; beauty and brain. It speaks about the state of the world and the fragility of our planet, without in anyway laboring the point or being heavy handed. Paterson is bringing together the awe of nature felt by the Romantics of the 18th and 19th Century as well as the use of new scientific technology. Traditionally science would seem to fly in the face of the Romantic notion that the world should not be rationalised and quantified however by combining seemingly apposing ideas Paterson seems to have re-invented the genre, creating a updated version for the 21st century. For Katie, it seems that it really is a case of ‘to infinity and beyond’. She has already translated Beethoven’s Moonlight Sonata into Morse code for her work Earth-Moon-Earth and sending to the moon via a radio transmission, it was then bounced in and translated back into music, turning out as a distorted and incomplete version of the original, that was played on a grand piano. Her newest work is once more seeing her turn to the skies, as she hopes to create a map of dead stars. Katie Patterson is soon to be showing her work in the Tate, she is part of their upcoming Triennial; ‘Altermodern’, curated by the art critic Nicolas Bourriaud, who has coined the term ‘Altermodern’ to define artworks that are made today in the present global climate, with a reaction against standadisation and commercialism. According to Bourriaud we are no longer in the post-modern era and the show, which opens on the 3rd of February, introduces artists felt to be on the forefront of their generation and alongside Paterson it includes some others, all very worthy of your attention, such as: Tacita Dean, Bob and Robert Smith, Simon Starling, Loris Gréaud, Subodh Gupta and Charles Avery. Could we have an early contender for exhibition of the year? Find out more about Katie Paterson here: http://www.katiepaterson.org