• Caitlin Kennedy

Sorcha Kennedy

Tell us about your cover.

It’s partly inspired by the night tour I did with the Echo Team on NYE. What I really liked about that night was it allowed me to spend time with the mountains and the stars without any of the guff. I’m living in London at the moment and I feel a huge disconnect from nature, a feeling surprisingly unresolved by coming to a place like Val, because a lot of the time you’re surrounded by the built-up environment and Disney-fied touristy stuff.

Not in a religious sense but I felt closer to something bigger than me, climbing the mountain at night. And although I feel small in the city too, I was small in a way that was safe. I felt like a tiny, tiny component in the universe and I guess that’s what I wanted to capture; that feeling of sanctuary and awe.

Is the style a good representation of your art generally?

It’s something that I err towards as a bit of a comfort blanket. You know those adult colouring books? I think they satisfy a similar urge. I’m in a complicated transition period of my life and none of my day to day tasks feel that tangible so there is some satisfaction to be gained in creating and fulfilling easy-to-complete tasks. Like little pockets of space that one by one, I need to fill in with solid colour or hatchings. I find this kind of sketching incredibly satisfying. It’s weird, the kind of visual art that gets me as a viewer is nothing like this; I prefer much more unfathomable and expressive work. I guess I like when artists show me a way of experiencing existence that’s an enigma to me, whereas I feel like my kind of drawing is pretty straightforward.