Catherine Bertola (born 1976) is a British artist. Based in Newcastle upon Tyne, her works consist of drawings, objects and installations which often draw upon history, collections and people. Bertola studied Fine Art at Newcastle University before going on to work on multiple commissions and exhibitions both nationally and internationally. Style and themes History Bertola follows in the tradition of British artists such as Cornelia Parker and Rachel Whiteread “who excavate the landscape and narratives of the past and present, exploring histories through objects, place and recordings.” Bertola's site specific artworks look beyond the surface of everyday objects and buildings to uncover forgotten and invisible histories of places and people. She is particularly interested in the traces left behind and often incorporates these in new ways in to her works. Time The passing of time is central to her works, and through using mundane everyday objects, Bertola explores how time becomes inscribed and materialised through the things around us. Whether temporary or permanent, Bertola's works themselves are always transient due to the nature of the materials used, meaning that over time her works too will fade and decay. The Role of Women A following theme found in a number of Bertola's works is the historic role of women in society, their craft production and labour. Medium Bertola's works are not medium specific, rather the materials are chosen for their suitability alongside the context in which the work is shown. Often Bertola's works are produced from 'found' objects, which range from dust, wallpaper, paint and thread. Bertola frequently uses these 'found' objects to indicate a particular era, sometimes this is achieved by using them to form a design from a certain period. Works One of Bertola's earliest well known works is Hearth (1999), an installation found at the Locomotive Works in Newcastle-upon-Tyne. Using the dust and debris she collected from the floor and walls of the former office of 19th Century engineer George Stephenson, she traced the decorative pattern and outline of a Victorian hearth rug. Dust, a material once described as the matter of history, connects the contemporary space with its past. The found dust is a residue of things that once were, while at the same time revels that the site has been unoccupied for some time. The installation attempts to remind us of our temporal condition whilst also invoking a romantic sense of loss. Below the Salt (2020)