NORTH SOUTH EAST WEST

At The Firey Gate Gouache on paper 30 x 42 cm

I am continuing to explore ideas of Mother Nature with paintings that behold the feminine essence of our earthly, cosmological and spiritual lives. This exploration expands on my concerns for our immediate environment and my interest in the distance between the vast and nano, whether it be spatial or temporal, physical or spiritual.

At The Firey Gate suggests that Mother Nature is suspended at the gate to Eden/Paradise? Have we sacrificed her? She is us, she is all, past-present-future. What do we need to do to pass through the gate to return to Paradise? Fire, as a purification symbol 'speaks' of change, which can be either forced upon us or actively sought. Surely the financial mayhem, climatic and environmental turmoil we are experiencing at the moment, screams for the need to make fundamental changes to the way we live and operate.

      

North South East West Gouache on paper 30 x 42 cm

North South East West is titled without commas between the words, because I want no borders or barriers to exist by implication. Punctuation can subliminally suggest border/boundary and thus difference. Yet, each point around the 360 degrees of the compass is a direction. In this painting the female figure, Mother Nature-the feminine life force- extends her reach in all directions, with the vascular-like tree-of-life pulsing within and beyond. She is connected to her physical world, as well as her inner world. She is me, she is you, she is us.

LATEST E-UPDATE:

Please have a look at my latest e-update at this link:

http://us2.campaign-archive2.com/?u=859313615340691f5af3cc94b&id=5f60afa09b&e=3cd56fce49

 

FOR EVERYONE: Words and Paintings

Available as a book or e-book!

My book FOR EVERYONE is available from Balboa Press at:

http://bookstore.balboapress.com/Products/SKU-000458938/For-Everyone.aspx

or from Amazon and other online stores, plus ask your local bookstore.

And, there's a GOOGLE PREVIEW where you can see some of the inside of the book

http://tinyurl.com/3uomgvy

NEW 'GALLERIES' AT

www.kathrynbrimblecombe-fox.com

QUIVER

http://tinyurl.com/3vqc9ak

MY WOMEN 1990-PRESENT

http://tinyurl.com/3vabc39

UNDER $1000

http://tinyurl.com/675tjeh

Please also check out the DIRECTORS' CUT- BLAKE PRIZE- ONLINE EXHIBITION

My entry into the Blake Prize, was shortlisted by the judges but was not chosen as a finalist.

The Directors' Cut Exhibition is a selection of those works which were shortlisted.
The exhibition is online until 31 January.
You can see all the paintings at:

http://www.blakeprize.com.au/galleries/directors-cut

Cheers,

Kathryn

www.kathrynbrimblecombe-fox.com

TWITTER http://twitter.com/brimblecombe

UNLEASHING WONDER

Unlimited Oil on linen 120 x 160 cm

Below is the essay written for my 2005 Abu Dhabi exhibition by Holly Arden, Arts Writer and graduate in Art History [Hons First Class] from the University of Queensland. Holly is currently completing her PhD at Monash University, Theory Dept of the Faculty of Art and Design.

The paintings I have uploaded are a few that were in my Abu Dhabi exhibition and that Holly refers to in her essay.

I have uploaded the essay, because in the last few days I have received some very insightful comments from a person, based in Munich, who visited my BLOG and website. He also made insightful comments about Holly's essay.

When Holly showed me the completed essay with an introductory quote from author Andrew McGahan's 'The White Earth' I was astounded...and very pleased! Holly had had no idea that my parent's farm and the McGahan farm were only a few kilometres apart, and that our families have been friends for decades. Our farms were/are at Pirrunuan which is a railway crossing between Dalby and Jimbour, on the Darling Downs, Queensland, Australia. The Pirrinuan and Jimbour Plains are treeless tracks of rich black cracking soil. To the west is an endless flat horizon which shimmers into watery mirages. To the east the Bunya Mountain Ranges cut a sharp silhouette against the vast sky. Here's a link to a Google Map where you can see our farms. My farm is at the top left.
http://maps.google.com.au/maps?ie=UTF8&hl=en&om=1&source=embed&t=h&ll=-27.042309,151.237965&spn=0.030044,0.07699&z=14

The White Earth' has received a number of literary awards including; Miles Franklin Literary Award, the Commonwealth Writers' Prize for the South East Asia and South Pacific region, The Age Book of the Year (Fiction) and the Courier Mail Book of the Year Award. It was also shortlisted for the Queensland Premier's Literary Awards that same year. Check out these 2 sites: http://www.theage.com.au/articles/2004/05/12/1084289744278.html
http://www.allenandunwin.com/default.aspx?page=311&author=218

Holly's 'seeing' of my images in Andrew's words, and her 'reading' of Andrew's prose in my images, spells out the 'magic' foreverness of the vast landscape we grew up in. It also illustrates the power of landscape on the imagination, where the imagination untethers itself from mere replication and description, to stir the vibrational currents that link us all to nature, and thus the impulses of life. The vastness of my childhood landscape gave space to notice the details, to swing from the minutae to the endless, and in doing so unleashed wonder.

Regular readers, who know of my concerns about the Coal Seam Gas [CSG] industry, will feel my distress about the impacts of the influx of coal seam gas mining on the Darling Downs, one of Australia's few prime food producing farmlands.  By puncturing the earth with gas wells, situated about 1 ha apart, not only will there be impacts on the internal health of soils and aquifers, but also on the external landscape. Already, in places where CSG has been active for some time, I have heard of water bores which have dried up, and farmers not being able to find water when trying to establish new bores.

In Holly Arden's chosen quote from Andrew McGahan's book, he refers to 'familiar squares of cultivation' [ie: broadacre farming]. If you have a look at the Google map I linked above you will see an aerial view of what broadacre farming looks like. With CSG, these ' familiar squares of cultivation', will be criss crossed with the all weather access roads which are needed to access every gas well. If you have not seen images of these roads, the pattern on the landscape is like a chaotic web, which disrupts economical and efficient farming practices, creates potential soil erosion issues, subtracts acreage from a farmer's cropping, causes potential problems because of run off [water and vehicular oils etc] onto farming land...etc etc. The landscape will no longer be 'familiar', but more importantly its life sustaining gifts of quality food and fibre will be compromised. Now this is something to be fearful of!

But, this brings me to another question. It is a soul question. What vibrational impact will an internally and externally compromised landscape have on who we are as a race...human race? Yes, over eons, we [human race]  have already changed our landscape in order to feed, house and clothe ourselves. Yet, it seems to me, that this has been a, more or less, evolving process, where we have made mistakes, learnt and changed activity to be more sustainable...it is an ongoing process. But, CSG and the growth of open cut mining in Queensland [and other parts of Australia] are radically, and very quickly, changing our landscape in a way which seems unfetted and diametrically opposed to lessons learnt over the eons. At a forum, on SCG and Open Cut Mining, that I attended at the University of Qld, a few weeks ago, I [and the others in the audience] were appalled when Government and Mining Industry representatives admitted that they did not know the full impact of CSG on the environment, but they'd learn as they go!


                           

Hidden Secrets Oil on linen 120 x 160 cm

Essay By Holly Arden

…at the foot of the hill washed the plains, immediately flat. Close by the land was divided up into the familiar squares of cultivation, but as the eye leapt outwards the colours and shapes merged, fields and farms spreading all the way to the horizons…. On the left marched the blue line of the mountains, and on the right, the land merely extended forever westwards.
- Andrew McGahan, 'The White Earth'

If there is such thing as a cultural psyche, landscape would be a defining feature of it. This must at least be true in Australia, for people of both indigenous and non-indigenous heritage. And it is hardly surprising, given that Australia is four-fifths the size of North America with a population of around 20.4 million. The landscape, vast and for the most part unpopulated, is literally everywhere. ‘The Land Down Under’, ‘The Great Southern Land’: historically, mythologically and psychologically, Australia’s identity is characterised by the distances that mark its interior and separate it from the rest of the world.


As a result, landscape painting has led arguably the strongest course of Australian art. The landscape works of early post-colonial artists evidenced a type of psychological rationalisation of what they encountered in these new foreign lands. Consequently, these were often filtered through a European aesthetic. Aboriginal and Torres Strait Islander artists have pictured landscapes that recount stories of the creation of their ancestral lands. In all its forms, landscape art is a means through which artists have situated themselves physically and sensually, culturally and psychologically, in relation to place. As James Baker writes: ‘Landscape art is often a metaphor for…mindsets in that it is also a result of the response to the environment, not just a representation of it.’

What type of response might living in rural Queensland generate? Kathryn Brimblecombe-Fox lived for decades in the agricultural communities of Dalby and Goondiwindi in the state’s south-east. The feelings of desolation and loneliness provoked by rural life has left its mark on the work of numerous Australian painters, foreshadowed it seems by the colonial experience. So it comes, perhaps, as a surprise to see the markedly upbeat works in this exhibition. One of the first ways we experience this is through Brimblecombe-Fox’s use of colour: jewel-like blues and fiery reds. Such reds ring true to the deep russet of the region’s soil and are coupled in works such as Life’s Vibration with a vibrant force of energy expressed by lines that vibrate with optic movement. These are scenes quite different to those traditionally pictured, for example, in Russell Drysdale’s desolate brownish terrains.

Secondly, there is a sense of harmony in these paintings achieved partly through the artist’s refined, almost diagrammatic forms. This suggests Brimblecombe-Fox works from a certain level of objectivity or ‘remove’. By ‘remove’ I mean that she is able to view the earth as a natural system and as one part of a much greater whole. Through the working of its ‘parts’, the vegetation that nurtures life, the blood that supports it, the natural world is able to revolve continuously. In a group of paintings that feature a circular earth motif, a network of roots/nerve endings/blood lines service the earth like veins. These connect with a much greater expanse of sky, which puts the earth, quite literally, into perspective. There is something liberating about this and also humbling. In works such as Every Wonderful Possibility, the sky is formed through repeated semi-circular brushstrokes. Traditionally symbolic of harmony and fertility, the circular earth is filled with the roots of life.

A range of rarefied mountain landscapes accompanies these busier paintings. The stylised, patterned forms in these works have a strong graphic quality. The sharp contrasts of the Darling Downs landscape where the artist lived perhaps lend themselves to such picturing. These are places where rain, as in Mountains Dancing, falls in visible sheets and where the mountains, as writer Andrew McGahan describes, “march” on one side, while “on the right, the land merely extend[s] forever westwards.” These are scenes of hard lines or else expanses of coloured nothingness. Then there are the man-made forms, the angular fields and irrigation channels; landscapes which, especially in the harsh light and heat, lend them to abstract rendering. And in the heat of the day, as in Mountains Dancing, there are illusions everywhere, where the luminous blue of the mountains could be mistaken for a gathering of lakes.

Mountains Dancing Oil on linen 80 x 120 cm

The use of abstracted form is also, for Brimblecombe-Fox, a way of translating her impressions of landscape into paint, impressions for which there are not always visual equivalents. None of these works were painted on site. Therefore, by employing a series of ‘motifs’ that might represent a thought or feeling about a place, or through intuitive brushwork, Brimblecombe-Fox maps a personal, inner landscape. A defining marker of the Darling Downs landscape, the mountain is repeated in a varied range of responses to this metaphor for life’s goals and challenges. (And there must be at least one personal mountain here; achieving an exhibition, let alone in another country is one steep climb)! In Metaphor, warmth seems to emanate from beneath the blanket-like covering of the mountain. In Hidden Secrets, the mountains are veiled, elusive and because of this, ever so slightly ominous. In the russet coloured painting, Mountains As Metaphors, the flowing painted line transforms the mountain range into a wave-like abstract form. Floating in an expanse of flat colour it is inaccessible but, with its gentle undulations, its distance causes no anxiety.

Mountains As Metaphors Oil on linen 80 x 200 cm

Mountains As Metaphors demonstrates Brimblecombe-Fox’s distinctive use of abstract graphic form, particularly line. In this work, the line is highly charged, seeming literally to carve the landscape out from a red void. In Earth’s Vibration and Inside The Mirage, multitudes of loose lines suggest a landscape quivering with potential energy. These heavily worked lines are also physical signifiers of the artist shaping the land in paint. In contrast to these more highly composed paintings, a group of gentler, freer works reflects the artist’s fascination with the possibilities of her medium. In Unlimited, for example, Brimblecombe-Fox builds thin washes of paint, allowing these to drip into forms that could be rain-washed landscapes or layers of wood grain.

Inside The Mirage Oil on linen 80 x 200 cm

Informed by vastness and distance, Brimblecombe-Fox’s paintings have an essence of Australia. But aren’t these qualities (feelings, stories) that might also be found throughout the world, in the desert scapes of the Middle East? Thus, while they speak of specific sites, gained through decades of living in rural Queensland, they are not essentially Australian. Part psychological, part allegorical, they have universal resonance. Most refreshingly, while her large canvases hint at emotions such as the fear and loneliness that come with isolated living, Brimblecombe-Fox never allows them to become overly sentimental. Instead, they reflect a mature artist with the ability to balance feeling with resolved, sophisticated approaches to painting this most charged of subjects.
Holly Arden

So, until next time,
Cheers,
Kathryn
http://www.kathrynbrimblecombe-fox.com/

NEXT SOLO EXHIBITION
VORTEX 22 Feb-6 March, Graydon Gallery, 29 Merthyr Rd, New Farm, Brisbane, Queensland, Australia.
I am thinking of having an 'artist's talk' in discussion with an Art Historian on Sat 26 or Sun 27 Feb. Stay tuned for details.

THE BEGINNING OF EVERYTHING

                         The Beginning Of Everything: Remembering Distance Oil on linen 90 x 180 cm 2010

I have been working on this new painting for weeks, full days and into the nights. After looking at this painting, viewers could think I was a little obssessive! Well, that might be the case with this painting! It just kept propelling me and I now feel somewhat lost. This feeling will go, when I start the next painting, which is already perculating in my mind.

The Beginning Of Everything ....where do I start!! Funny question when you think of the title! But, that's just it...the title and the painting pose more questions than answers...not that I think art necessarily does, or should, even try to answer anything. If it had the answers, I think, art would truly be dead.

I had this idea that I wanted to paint an mage which 'spoke' about the beginning, those nano seconds after the Big Bang. What would the 'landscape' be like? I wanted to paint an image which gave an impression of those nano instances, but also the presence of whatever it is...God?...that set it ALL in motion. Coupled with those post-Big Bang nano instances I wanted to paint an image which could be 'read' as that intimate nano-second when each human life begins. Regular readers will know that my interest in the connection between close and far distance, the intimate and vast, the micro and macro, drives my search for a way to sentiently depict multiple perspectives.

In this painting, I have used my much loved transcultural/religious tree-of-life motif which cuts its capillory-like branches across the 'landscape' ...from the Universe of outer space and the 'universe' within the womb, to the 'universe' of human psyche. The tree's branches weave their way across the space, which can seem to both inside and outside something...vast and/or intmate. I wanted to give a sense that perhaps we, the viewers, are witnessing something from the edge of the 'happening'...that we are both witnesses and participants.  I wanted to give a sense that the image contained more than it revealed. To do this, I have tried to create a feeling that viewers sense they have encountered a cross-section of the outer edge of a vortex, and as they meet this phenomena they are immediately drawn into its movement, which compels them to be both witness and participant. Regular readers will know of my interest in vortexes. Check out http://kathrynbrimblecombeart.blogspot.com/2010/10/knowledge-of-stillness.html

The vastness of my childhood landscape on my parent's farm outside Dalby on the Darling Downs, has influenced my interest in the 'play' between the vast and intimate. Indeed, the vastness meant that one could be both witness and participant, because multiple distances could be seen and felt simultaneously. The relentless blue skies of the daytime turned into the twinkling sheath of the Milky Way at night. The Bunya Mountains, cutting a majestic silhouette in the east, contrasted with the flat treeless horizon in the west. In between this distance there was space to notice the minutae of life. Things such as the snaking cracks in the black soil, which miraculously closed up when rain turned the soil to thick mud. Things such as grains of wheat scattered on the side of the road, the creeping tendrils of prickle plants, drops of water on leaves, little whirly winds [vortexes!] which picked up dust, feathers, seeds.

I remember, as a child, lying on my back on a thick patch of green clover [before the prickle bindis formed] gazing up at the sky. The clover was like a lush bed and the sky seemed full of energy. As a child I remember my grandmother, who lived in town, taking me and my brothers outside her house, at night, to gaze at the stars. Grand-ma-ma knew all the constellations and tried to teach us to identify them. My grandmother brought the galaxy closer to us with her knowledge. In a sense she gave us the experience of being witness and participant in the 'beginning of everything'.

My parents, over the years, hosted a number of visitors from foreign countries [India, Germany, UK, Malaysia, New Guinea] and many of these visitors had trouble coping with the vastness of the flat treeless plain landscape of my childhood. The distance frightened them. Even friends of mine from the city had issues with the vastness of this landscape. I sensed they felt 'on edge'... literally on the edge of something which went beyond just physical experience.

Back to the painting! The larger section on the top right, still depicting the tree, gives a sense of space...both within and without. The red tinged appearance is a deliberate reference to the doppler effect, suggesting that what we see is receding, and thus expanding, at speed away from us. Yet, the blue tinge suggests a movement towards us. The round 'hole' references many things, including but not limited to...black holes, the possibility of other Universes, the stillness at the vortex core, atoms, birth canals, an eye [with all its symbolic meanings], veins...the moon of my childhood memories gazing at the night sky with my grandmother.

Whilst my childhood memories and wonderments have inspired this painting, some of the extra [or coupling] inspiration came from a book I have mentioned before...a fascinating book called 'Just Six Numbers: The Deep Forces That Shape the Universe' by Martin Rees [Basic Books, 2000] Martin Rees is Professor of Cosmology and Astrophysics, and Master of Trinity College at the University of Cambridge. He also holds the honorary title of Astronomer Royal and Visiting Professor at Imperial College London and at Leicester University.

WATER
Please check out some of my meanderings on water...its issues are the most serious of this century. You can start here http://kathrynbrimblecombeart.blogspot.com/2010/11/murray-darling-currency.html

REDLAND ART PRIZE
My painting 'Colour Of Knowledge' is one of the finalists in the Redland Art Prize. There were over 400 entries with only just over 50 selected as finalists, so I am pretty happy. Many paintings are for sale [including mine!!] The exhibition is up until Dec 5. Check out http://www.redlandartawards.org.au/ 
Here's a link to the BLOG post for 'Colour of Knowledge' http://kathrynbrimblecombeart.blogspot.com/2009/12/colour-of-knowledge.html

VORTEX
My next solo exhibition 'VORTEX" will be Feb 22 - March 6 2011 at Graydon Gallery, New Farm, Brisbane.

THANK YOU
Thank you to all of you who visit my BLOG. Every day my BLOG gets multiple visitors and I'm thrilled. My STATS page tells me how many people drop by and from what country, but not who you are.
Please remember you can comment.
Cheers,
Kathryn
http://www.kathrynbrimblecombe-fox.com/

TUILLE SKIRT AND OTHER THINGS

Detail of work in progress

                               Detail of work in progress-taken at an angle

The two images above are details from a large painting I am currently working on. My thoughts are about the creation of the Universe, or maybe seeing another Universe...with the idea of 'Universe' being about our external physical world, as well as our internal emotional/psychological world. Regular readers will identify with my play between the distances of the nano and universal, intimate and vast, macro and micro. In whatever case, my VORTEX ideas are propelling me. The VORTEX gives me the energy to tunnel in all directions! I have written about my VORTEX ideas previously...here is a link that will also take you to other VORTEX links too http://kathrynbrimblecombeart.blogspot.com/2010/10/knowledge-of-stillness.html

But, before I leave the VORTEX...just a reminder that my solo show opening 22 February 2011 is called VORTEX. As you can see from the images above, my much loved transcultural/religious tree-of-life is my visual conduit into the life propelling realms of the VORTEX.

IN MY STUDIO
In this post, I have decided not to dwell too much on ideas, theories...heavy stuff. Instead I thought I'd upload some images of my studio and me.

Here I am in my studio where I paint my works on paper. I share this room with the hot water system and the fuse box. It is actually a kind of non-room, so it's perfect for making a mess in.

Here are some works on paper in progress. Regular readers will possibly see that these are the beginnings of some of my 'water' paintings. That is if they don't end up ripped to pieces because I am not happy with them!

http://kathrynbrimblecombeart.blogspot.com/2010/10/water-gallery.html

Here I am in my studio where I paint my oil paintings...well... it is actually the garage and I share it with a lot of other things, but not the car because I have a carport for it. As you can see I do not have any flash studio furniture. Indeed an old washing machine suffices for a bench! The good thing is that I don't have to be 'precious' about anything.

And, here I am loading a big painting onto the roof racks of my car. Needless to say I do not travel long distances with paintings on the top of my car. However, around Brisbane it is ok, except when wet! Of course, on the odd ocassion I have had to collect my children from school, with a painting atop the car, I have been a complete and utter embarrassment! No-one elses mother has something as conspicuous as a painting wrapped in bubble wrap atop her car!

And now to a photo to show that I can 'glam up' a bit too. Here I am in an outfit, part of which I made! The black top is actually a gorgeous corset which I bought. It 's meant for underwear, but I thought it was beautiful enough for outer wear! [Now I won't go into what my kids said about that!] The tuille skirt and shawl are both made by moi. The shawl was easy. Just a length of tuille with little pink bows randomly sewn all over it. The skirt took a bit longer, because it has layers of pink and brown tuille attached to a lycra band, which I also made.

So that's it for today. Some lighter-note things, which I hope people enjoy seeing.

Cheers,

Kathryn

COSMIC DUST

                                Cosmic Dust Oil on linen 120 x 160 cm

This new painting above has been in my mind's eye for awhile. I wanted to create an image which exposed the possibility of the nano and vast at the same time. So, whilst I had in mind an image of the Earth in space, I wanted to pose the possibility that it was not the Earth, but maybe a sub-atomic entity or, at the other extreme, even a whole Universe. The latter obviously suggesting that multi-universes potentially exist.

I have recently finished reading 'Just Six Numbers' by Martin Rees, Professor of Cosmology and Astrophysics and Master of Trinity College at the University of Cambridge. In this book he analyses the six numbers that explain the sensitive balance of the Universe we inhabit. Whilst reading this book I could not help but think about some of my previously expressed ideas on perspective, and more significantly on the need to learn skills in 'seeing' multi perspectives simultaneously. To understand not only our globalised world in which we live locally, but to appreciate the 'world' beyond our sky, beyond our galaxy and even further, we need to 'see' the accelerating distances in the nano and the vast. If we 'see' them we can understand why preserving life and our environment is important ...because the human race may not have anywhere else to go!

In Cosmic Dust   I have painted a circle with two trees...yes my much loved transcultural/religious tree-of-life. These trees meet at their trunks. One tree is painted in cool colours and the other in warm colours representing change through cycles. The 'tree ball' is encircled by a glimmer of white light, which denotes anything and everything from atmosphere, to reflected sunlight, to divine light and more. The background seems to move with suggested light and colour, depth and space... substance of existence?

I have used my tree-of-life, as regular readers would know, to represent life in all its systematic processes. The tree, in an instant, can be read as the vascular-like force of life whether it be at sub-atomic, atomic, human or universal levels. It can be read as any kind of system with an impulse to create and sustain life.

As I painted Cosmic Dust I found myself constantly moving back and forth to examine the image from close and far distances. I have written about what I call the 'artist's dance' before, commenting that it could be a metaphor for how we need to view our world [local, global and universal]. We need to move! My mother has just seen Cosmic Dust and I was very pleased to see her doing the 'artist's dance' too. She even commented on what the painting looked like when she viewed it up close and then from a distance. And, I did not tell her to do this!! I like to think the 'artist's dance' is a clue to the artistry of living life to its fullest.

The title Cosmic Dust signifies that subatomic, atomic, human, planetry and even universal entities are the dust created in those nano seconds after the Big Bang.

B AWARE exhibition

I have had 5 paintings chosen for this exciting exhibition: Here's links to 2 of them:
http://kathrynbrimblecombeart.blogspot.com/2008/07/earth-for-sale-120-x-160-cm-oil-on.html
http://kathrynbrimblecombeart.blogspot.com/2007/07/thank-goodness.html

'B Aware' is a curated exhibition organised by the 8GG, Eight Goals Group, which is a group of concerned Anglicans raising awareness of global issues surrounding social justice and poverty as outlined in the UN's Millennium Development Goals, 2000.

 Dates: 8-21 October 2010. Daily 9.30 am - 4.30 pm


Opening: Friday 8 October 6.30pm. To be opened by Archbishop Dr. Phillip Aspinall.


Free entry. All art is for sale.
Artists selected for 'B Aware' include Proppa NOW group artists, Gordon Hookey, Jennifer Herd and Richard Bell: Young refugees from Brisbane's Milpera High School...Plus...Glenda Orr, Clinton Cross, Karen Kaese,Vincent Serico, Cernak Cernak, Meryn Jones, Jennifer Andrews, Kerry Holland, Kathryn Brimblecombe-Fox, Michael Baartz, Joe Nalo, John Suine and many more. Artists are from PNG, Indigenous and local communities. The curator is Joan Winter.
The UN's 8 Millenium Goals, agreed upon by 189 countries in 2000, focus upon eradication of hunger and poverty, achievement of universal primary education, gender equality and empowerment of women, reduction of child mortality, improvement of child mortality, combatting HIV/AIDS, Malaria and other diseases, ensurement of environmental sustainability and the support of a global partnership for development.


http://www.facebook.com/home.php?sk=lf#!/event.php?eid=114955445225116

Cheers,
Kathryn.
http://www.kathrynbrimblecombe-fox.com/

HOVERING

Hovering At The Centre Oil on linen 30 x 30 cm

This painting above is a small 30 x 30 cm work. It was inspired by thoughts of vortexes, stillness, possibility and the potency of the archetypal tree-of-life symbol. I am reading another book by the Lord Astonomer, Martin Rees. This book 'Just Six Numbers' is entirely layperson readable, just like his book 'Our Final Century', which I have written about previously. http://kathrynbrimblecombeart.blogspot.com/2010/04/idea-sketches.html   http://kathrynbrimblecombeart.blogspot.com/2010/05/presence.html

Well, a few things have got me excited. One is that prior to reading 'Just Six Numbers' I was pondering the phenomena of the vortex, literally as well as metaphorically. Regular readers will have read some of my 'vortex' posts. Rees writes about spirals and vortexes in cosmology eg: galaxies. Another source of excitement is Rees's chapter 'Primordial 'Ripples'. I was reading in bed a few nights ago, with my eyes falling out of their sockets due to tiredness, and I started to read the chapter and laughed.  It transfixed me, because prior to reading all about primoridal ripples, I painted 'Cosmic Frisson', which was inspired by ideas of ripples. I even called a recent post 'Ripples'. http://kathrynbrimblecombeart.blogspot.com/2010/07/ripples.html   http://kathrynbrimblecombeart.blogspot.com/2010/08/cosmic-frisson.html

So, back the painting above...Hovering At The Centre. I wanted to leave some space, because so many of my paintings are full of vast textures which only suggest space as a dimension beyond the surface. I wanted to create an image that included a sense of empty space, simultaneously vast and minute, like a portal or a vortex/spiral core. I wanted to create a sense of finding stillness, a place of possibility, alluding to a complexity that, whilst not understood can be sentiently felt, thus asking us to have faith.

At one level Hovering At The Centre is inspired by Rees's words, 'Most galaxies harbour a central hole as massive as millions of stars.' These central holes are 'black holes'. They defy explanation, but are discernible by scrutinising external forces such as gravity and light. But, this is where an artist's imagination is triggered. For me, my painting portrays a sense of life surrounding the 'black hole'. This is indicated by the tree-of-life motif, which suggests celestial systems finely balanced to stimulate the continuing expansion of the Universe. The tree-of-life is also gravity which stops the Universe imploding into black holes and perhaps surrending existence.

In Hovering At The Centre the circle or hole is like a portal, embraced securely by the tree-of-life. So, entering the portal may not be too bad, because it might be like being inside a big hug [worse case...a crushing hug!]! Portals are metaphors for choice, other dimensions, crossorads in life. Portals, do not have templates to follow, otherwise they'd not be portals, but merely glass doors through which we could see. Portals are not understood by criteria or agendas. If we ascribed these things to portals we limit ourselves and the potential opportunities offered by the unknown. Portals compel us to dream and imagine, and criteria and agendas are not good bedfellows.

Here is a link to another painting where I 'speak' about portals. The painting is called 'AH HAs' and sold at my exhibition FRISSON in March. http://kathrynbrimblecombeart.blogspot.com/2010/02/ah-ahs.html

NEWS

My painting 'Halo' is one of  the 70 finalists for the 2010 Tattersall's $20,000 Art Prize, Brisbane. This year the prize is by invitation, so I am very excited to have been chosen as one of the exhibiting artists. The exhibition opens Wednesday 8 September.

On October 8 a rather interesting curated exhibition BAware will open at St. John's Anglican Cathedral in Brisbane. The exhibition is themed to the Millenium Goals to raise awarenss of gloabl issues of social justice, poverty and sustainability. I will have between 3 and 5 paintings in this exhibition. I will post updates over the next weeks leading up to the exhibition.

Until next time,

Kathryn

MAJESTY AND ORDER

Majesty and Oder Oil on linen 36 x 36 cm 2009

While I was painting this image above I was thinking about 'order'...and not house tidy type of order [although I know my family thinks I should think about this more!]. I was thinking about 'order' as in destiny and fate or another name could be 'divine order'. Coupled with my thoughts about 'order' were ponderings on systems, all kinds of systems from natural ones to man-made ones. The largest system is the one which gives pulse to the Universe and whilst we may not conpletely understand this system we know it exists. Now this got me thinking...if we have evidence of a system it does not mean we know how it works, yet we have faith that it does.

Sometimes, a system is not evident until something happens which gives rise to questions about how, why and when the event happened. Sometimes people achieve things without an apparent system, yet once the achievement is made a 'walk' back through the experience will reveal a 'system', which may or may not demonstrate traditional lock step sequential patterning.

For sequential thinkers a system is possibly a different thing to a divergent thinking person. This latter type person will not necessarily think sequentially as in 1,2,3. Their sequence may be 3, 1, 2. This person is often a BIG picture thinker, who will demonstrate hyperactivity and boredom if confronted initially with sequential 'bits' without a BIG picture promise. I think primary school is a devastating place for tangential BIG picture thinking children, because there is so much emphasis on 'bits' of information. These children wonder why they need to learn the 'bits' and tune out when there seems to be no or little relevance...I have seen this with my own children.

So, these are some of the thoughts I had when I was painting this new image. I have just finished it and my thoughts are still spilling over... as they do...which is a kind of system isn't it? Indeed, I have faith that this will happen after finishing a painting, thus leading to the inspiration for my next painting.

I wanted to paint an image which 'spoke' of systems, faith and majesty. My tree-of-life motif represents all of life, but I have formed it to appear like the Earth in orbit. In this sense, the painting is a landscape, indeed a vast one. The size of the painting is small ie: 36 cm x 36 cm, but I like the way vastness still exudes with majesty. It fits in with my ideas about distance being close and/or far. Readers of my BLOG would know of my fascination with the permeability of distance and perspective. The tree-of-life and its branches suggest a system, a natural one akin to those of river systems, mountain ranges, cloud patterns, ants trails, vine tendrals, blood vessels, lymph systems, finger prints and the markings on the palms of your hands....and so on. Each dot represents another world of systems pulsing with life and having faith that it will continue.

I have painted the dots amongst the tree-of-life branches in various pale shades of the complementary colour of the surrounding branches. So, the purple branches have pale yellow dots, the red/pink branches have pale green dots and so on. I did this deliberately for a few reasons: 1. The colour wheel provides a system which artists can use to augment the visual impact of their work 2. I like the concept of seemingly oppositional forces creating a tension which can stimulate 'happenings' 3. I like how seeming randomness, as in the placement of the dots, can be questioned by the subtlety of complementary associations...and how this gives clues to 'hidden' systems at work in our lives and psyche [both idividually and collectively].

Anyway, I could go on and on! But, I won't because maybe you have your own thoughts and as I have said before I love viewers taking my work to places I have not thought of. I do not complete my work, because each conversation either within a person or with others, provides another completion, thus the possibility of multiple completions. Now, is that a system? Systems are everywhere. There is an 'order' in their very existence giving majesty and awe to our lives.