She started using video in 1980.[2] Her first video artwork is entitled Housework. Her works include: RCA Women's Group (1982), Diary, Belly (1983), Momento (1983), The Sister's Story (1984), Untitled - Entopic Pregnancy (1985) Hannah's Song (5 screen), A Book For A Performance (2 screen) (1986), Light, Water, Power (4 screen, with Alistair Skinner), Black Stock Estate Tapes, Group Portrait (3 screen video) (1987), Her Gaze (2 screen video), Medusa (1988), Moonrise (3 screen) (1989) Ants and Balls (2 screen).
As She Opened Her Eyes She Looked Over Her Shoulder and Saw Someone Passing The Other Side of the Doorway With a Strange Smile (funded by BBC) (1990), Eat (5 screen)
Vampire Seat (1992), Poznan Installation (1993).[3]
Andrea Phillips has written on her work: "Katharine Meynell's work bridges a divide between the overt and politicised psychoanalytic tendencies of 1980s and early 90s post-feminist image-making and an altogether more disenfranchised landscape - that perhaps of today - in which no such recourse to history and theory seems tenable and questions of art's criticality are paramount".[4]
Her works have been exhibiting in several solo shows and group exhibitions, including: The Island Bell in Digital Aesthetics, The Harris Museum, Preston (2001),[5] Iceberg, Bread, Tunny in ‘From Floor to Sky’ at Ambika P3 Gallery, University of Westminster, London,[6][7] Poetry of Unknown Words (Gefn Press) Poetry Library, South Bank (2012)[8]
She is author of several books,[9] essays and articles.
