Reviews

Stannard evolved an outstanding installation across seven hours. White sliced bread and red thread: white carnations reddning in vases of ink: from these simple beginnings Stannard organised rows of profoundly significant, symbolic objects. They read like a manifesto of what’s coming unstitched in our society.
Mary Brennan on Missing Things, ‘The Herald’,March 23 2004

Stannard is, despite her young age, already an artist of genuine stature whose work makes living poetry out of what she sees around her.
Mary Brennan on In a moment, ‘The Herald’,Feb 14 2006

Tight in execution and conception, Stannard's work provoked interest and thought. The humor was well judged and ironic as she treated her body and a supermarket chicken to the danger and reality of injury and mutilation...this was the one that made me glad I'd gone to Glasgow.
Thelma Good on Lifedrawing, EdinburghGuide.com, Dec 11th 2001

Highly organised and motivated she has sensitivity to the creation of images that proves essential in the creation of work
Ewan Forster, Theatre Director (2000)

Kate Stannard's one-to-ones lasted as long as the ice-cube she wrapped into your palm. Dangling strings of glinting ice-cubes pitter-pattered time's passing on to rusting cans, the ice gradually pooling the floor with cold tears as Stannard invited participants into a sharing of thoughts on mortality, memory, change and decay. Mouldering flowers, still perfumed but hinting of decomposition, marked out where previous folk had sat – we came, went but, as Stannard intended, left something of our passing even as we carried memories of our interaction away, into our future. This piece was full of sad wisdom about the nature of transience and yet it resonated with a celebratory awareness of how each moment is, or should be, valued as a gift.
Mary Brennan on In a moment, ‘The Herald’,Feb 14 2006