Whereas the modern impressionists explored the effects of diffuse light, a significant branch of Katana's paint-work may be considered an impressionism of shadows. By utilizing low-light and images from her own personal phobias, Katana captures a sense of foreboding mystery and tension. Frequenty employing subject isolation and magnification, she uses colour phases to evoke three-dimensionality, while off-setting her subjects from their occasionally abstract environments with strong contrasts. Her work covers a traditional range of subjects from self-portraiture to landscape to still life, but treats each of these subjects with her distinctly ominous, contemplative style.







