In an interview with Digicult Catherine Mcphee emphasizes the inspiration behind her collections of works in relation to traumatic memory and the visualization of “seismicity” or seismic memory. Seismic, defined as relating to earthquakes or other vibrations of the earth is incorporated into Mcphee’s work by highlighting her California roots as being the grounding place for her non traditional approach. Dedicating most of the motivation behind her work to be owed to the San Andreas Fault. Relating it directly to the unruliness of the Earth’s plate to the ruggedness of the social warfare amongst genders, something she learned at a young age. Her interview with Digicult is fascinating, in which she divulges deeper her indulgence with nature, explaining the rawness and unevenness of nature connects us as simplistically as the grooves of one’s own hand. The idea of the natural is defined as clusters which serve a truth beyond reason and perspective, to which Mcphee emphasizes through an obsession with future disruption. The recreation of the sonic vibrations and environmental trauma of something so volatile such as earthquakes and volcanoes can result in something so powerful through drawing.
Understanding the temporal relationship of an object through drawing is to release its volume. Through the photographic image the print medium becomes a way to capture the truest impression of such natural abstraction. Contrasting two opposing words such as digital and natural, words that come to the forefront of the long-lasting battle between the plastic and high arts Mcphee explains never made sense to her. Instead she focuses on the non identifiable aspect, which acts as a place holder for the drawings deeper rooted meaning. She focuses a lot of her work on the casting out of images and finding meaning through visual and sonic vibrations. Concluding that neither terms are applicable because the drawing or replication of such is the bringing out of sensations that reach the closest in recreating a natural erosion through different mediums.
At first glance Christina McPhee’s work is dense, utilizing images that convey a deeper meaning than something attained at surface level. In a Transart feature Mcphee is recognized as using images that “matrix with abstraction” resulting in contingent effects honing in on the vitality of a post natural experience. Her work diffuses both digital and natural characteristics of drawing and photographic images. The articles emphasize Mcphee’s use of color in playing a key component to the presence of her message to collide both the natural animate objects in order to create a realness to her canvases. Ultimately Mcphee focuses on a goal of engaging in an open work narrative that characterizes a regeneration of “environmental fragility to which uncovers the beauty behind the most natural eruption of the Earth’s plates.