Kate Groobey is a multi-disciplinary artist who uses paint and movement to create still and animated paintings. Acting as a prop for performance, Groobey uses these paintings as tools for self expression through the freedom of dance, storytelling and electronic music.

Similar to Keogh, these paintings come alive through the activation of the artist, through costume design and prop making, the language of which is tied together with Groobey’s use of illustratory painting.

‘Pure Pleasure’ is the third chapter in a series of work that the artist made about the grief of losing her father to cancer. The first series began ‘Angry, but Calmer than Before’, and the second ‘The Good Life’, which took on what is good about life, ending in ‘Pure Pleasure’ which celebrates the joys of life we take for granted, such as a cup of tea or a piece of watermelon.

Similarly to myself, Groobey uses water colour paint, with an excited curiosity for how far it can be pushed as a material.

I do this by using watercolour on anything it will stick to such as MDF, on top of matte emulsion, on fabric, and on clay. Groobey does this by using watercolour on paper and then collaging her work to create costumes, props and sets for performances - Similar to Keogh, in that regard.

Similar to Tai Shani, Groobey is pushed forward as an artist by female empowerment and strength. Self reflections echo daily conversations that Groobey has with her self and others, which over time became a recurring characters within her work: the artist, her wife and a horse nicknamed ‘The Female Stallion’.

Pure Pleasure asks: ‘Does the female gaze provide a different sensibility than the male gaze? Less Violent?’ - Goobey says that ‘Still paintings are vulnerable to the male gaze’, where as the performance, and the music directs our gaze back to the direct intention of the the artist.