Showing posts with label water. Show all posts
Showing posts with label water. Show all posts

Tuesday, January 31, 2012

THE MOON

Memory Oil on linen 80 x 120 cm 2002
Memory Previous Post
I am working on a new painting...an 'everything landscape'. But, whilst I have been working, thinking, sitting and standing in front of my easel, I realised that over the years the moon has been a significant inspiration. As reguler readers know, the cosmos inspires me...not just the literal one out there in space, but also the metaphoric one within our psyches.

So I decided to upload a selection of my paintings where the moon appears. And, as I went through my files I realised that whilst the moon represents time and cycles it also anchors me to my childhood... or rather it stirs my inner child through memory. Indeed, the painting above is called Memory. Childhood memories were also the stimulus for the painting below When I Was A Child I Dreamt I could Fly.

In both paintings the phases of the moon orientate the figures in time and space. Time's dance of infinite cyclical movements, stirs the universal memory. I am reminded of a recent post Elemental Dance where I mention the Whirling Dervishes. Their mesmerising, and trance inducing, whirling movement seems to condense the universal/multiversal cycles of life to a persistently contemporary beauty which reminds us of life's propulsion. Like a vortex the Dervishes suspend time linking all experience.


When I Was A Child I Dreamt I Could Fly Oil on linen 80 x 120 cm 2003

The painting below The Flat And Fanstastic Horizon is also grounded in memories of my childhood growing up on the flat treeless Pirrinuan Plain outside Dalby, in S.E Queensland Australia. The whole painting is created with a cascade of tree-of-life symbols. The full moon forms a portal-like presence in the night sky.

I have previously written about my Grandmother, who had a great interest in astronomy. She tried to teach me and my two brothers to identify certain stars and the constellations. Apart from my Grandmother's cosmological interests, the night sky of my childhood could not be ignored. On a clear night the Milky Way was like a swathe of glistening fabric flung across the heavens. The glistening was not dulled by any ambiant lighting from cities or major settlements. The stars and the moon glowed fulsomely and elegantly.

This takes me to another painting, a more recent one to The Flat And Fanstastic Horizon. In fact, only since starting this post have a I realised the connection between the two paintings. The second one is The Beginning Of Everything  [It is below The Flat And Fanstastic Horizon.] Please read my previous post where I write in more detail about my grandmother and the landscape of my childhood.


In 1969 when man first walked on the moon, my parents, particularly my Father, insisted my brothers and I stayed home from school to watch the landing on TV. I still remember the grainy black, white and grey images.

The Flat And Fanstastic Horizon Oil on canvas 100 x 120 cm 2006

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

In Unison Oil on linen 92 x 208 cm 2006

I did not write much about In Unison in my previous post but regular readers will identify my inspirations. And, there's the moon reminding us of cyclic rythms over time. This painting was sold to a collector in Korea.


Meeting Place Of The Mind Oil on linen 100 x 70 cm 2011

In Meeting Place Of The Mind the morphed male/female figure, synaptic in its connective qualities, is hooked into the universal/mulitversal tune. The phases of the moon are watchful as they shed their varying nuances of light on generative impulses. The moon is more commonly thought of as a symbol of feminine power, with the sun symbolising masculine power. However, there are exceptions in some cultures [some African and American Indian tribes, in Japanese, Maori and some Oceanic symbolism where the moon has a masculine fertilising symbolism]. When I read this I thought of Meeting Place of The Mind where 'mind' is neither male nor female, but a force where life's compulsions become one.

Mother Nature Gouache on paper 30 x 42 cm unframed 2011

In Mother Nature [above] the female figure, representing Mother Nature, seems partnered with the moon. In this case the moon is a symbol of feminine power. The fulsome light of the moon is reflected in the curves of Mother Nature's womanly body and the vascular/placenta-like branches erupting from her feet. The moon's light reveals Mother Nature' aura, shared with all existence.
Sap Of Life Oil on linen 55 x 80 cm

Sap of Life essentially refers to water, the sap of life. As in Meeting Place of The Mind the female figure represents Mother Earth, her aura reflected in the moon's nuanced light. The feminine power to give life with a fertility that flows in an eternity of cycles dances along with the universal song, waxing and waning in timbre. Please read my previous post here


BOOK LAUNCH AND TESTIMONIALS

Just a reminder that my book launch for 'For Everyone: Words and Paintings' is Thursday 23 February! Click HERE for more details.

TESTIMONIALS

Not only is Kathryn a deeply talented, original and inspiring artist, she has a gift for wordsmithing as well! Utilizing the raw power of her art, ‘For Everyone’ is a masterful insight into the very essence of who we truly are, our complexities, our simplicities and who we are meant to be. Dr George Blair-West, Author of The Way of the Quest

In Kathryn Brimblecombe-Fox’s book, 'For Everyone: Words and Paintings', the combination of words and images is a gift to the senses. I highly recommend it. Felix Calvino, Author of A Hatful of Cherries
For Everyone is absolutely beautiful and as I read the prose, and looked at the paintings, it was like going on a personal journey of my life. It touched on fond memories of my childhood and reinforced my beliefs in being an individual. As a teacher I know this book could be used in so many ways. In 2011 I organised and ran the Gifted and Talented Program in Writing at my school. Many students in my class published their poetry and stories in an Australian wide writing competition. I am continuing in this position in 2012 and will incorporate this unique book to help my students develop their ideas and be more expressive. The paintings and phrases in For Everyone are great conversation starters. They will also inspire and encourage students to be brave enough to share and express their thoughts and individuality. This book is a fabulous resource for educating and inspiring young people to share the beauty from within! Lou Walsh: Primary School Teacher



BLOGS/SITES OF INTEREST

Here are a few blogs/sites I think are interesting. It's a broad array!



Cheers,
Kathryn

Thursday, December 15, 2011

TO GROK LANDSCAPE

Thank Goodness [It's Raining] Oil on linen 92 x 207 cm

To grok is to intimately and completely share the same reality or line of thinking with another physical or conceptual entity. http://en.wikipedia.org/wiki/Grok

 
Regular readers will know of my concerns for the planet, particularly with regards to water and soil. Since I started this BLOG in 2006 I have often written about my concerns, plus the paintings which I call my 'quiet activism'. My more obvious visual statements are made using small $ signs and words to create ambigious 'landscapes', which pose questions about how we 'value' our land, and its live giving and sustaining qualities. In Australia and elsewhere we are witnessing a rush to extract huge amounts of minerals and coal seam gas. Like many others, I am not anti-mining per se, but I am anti rushing into extraction activities without a scientific analysis of the risks to water, food production etc. There are enough scientists, and others with experience, calling for caution to indicate that there are risks...and major ones.

Earth For Sale Oil on linen 120 x 160 cm
This painting is created with small $ signs.

But, this post is not about mining or coal seam gas or farming. Rather, the paragraph above is a short backdrop for new readers.
TO GROK?
As I ponder the environmental dilemmas confronting the world today, I can't help but think about the manner by which we are connected to land. Yes, we use it, move around upon it, photograph and paint it, some watch it from satelites, we dig into it, we manipulate it for all sorts of reasons. However, I sense we largely see ourselves as separate from it. We are observers, witnesses, users, particpants upon. Yet, what if we saw ourselves as part of the landscape, enmeshed with its ebbs and flows, absorbed into the one pulse of life? What if we were to grok with the land, the Earth?

I suspect that early humans did not differentiate themselves from the land, their environment. From the distance of thousands of years into a future characterised by dilemmas of survival, our forebears' attitudes seem highly evolved.

 Heaven and Earth Oil on linen 90 x 200 cm

How can we return to a early humankind relationship with land, in a way which is reconcilable with their future...the one we now inhabit?
SYMBOLISM
I'd like to suggest that the answer lies with potency of symbolism. And regular readers will know what I am going to write next. Yes! The age-old transcultural/religious tree-of-life symbol holds clues, I'm sure, to how we might re-imagine our future relationship with Earth and land...and given modern understanding of outerspace...with the cosmos as well.
I am sure there are other age-old symbols which have the kind of potency that can propel re-imagining forward, as it speaks to the past. However, for me, the tree-of-life holds so much endless potential to re-awaken human race memories of connection and rapport with our environment, its physicality and its spirit. The vascular quality of the tree, speaks of systems...and systems keep us and the planet alive. I'd suggest that systems also ensure the propulsion of the Universe...and possibly the Multiverse! We may not understand, or have even identified, some of these systems, but we know they must exist. As I have writen before I have faith in complexity!

 Radiance Oil on linen 92 x 208 cm

Mountains and Metaphors Oil on linen 80 x 200 cm

PAINTINGS
The paintings I have uploaded for this post are a selection of 'landscape' paintings since 2006. All, but the one immediately above, depict the tree-of-life totally absorbed...grokked...into the 'scape'. It is THE energy at the same time as being THE 'scape'...one influences the other to manifest. The tree, as a symbol of life, is simultaneously a symbol of us and our environment, here on Earth and within the Multiverse.

In Mountains and Metaphors the moutains are symbolic of overcoming adversity.
Into My Galaxy Oil on linen 80 x 120 cm


Majesty and Order Oil on linen 36 x 36 cm


The Beginning Of Everything Oil on linen 90 x 180cm

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FOR EVERYONE: WORDS AND PANTINGS
BOOK UPDATE

Please check out Kris Wampler's great online interview about
FOR EVERYONE

Plus


and

and
for book launch details, where to buy etc etc


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Please FOLLOW me by clicking on the 'Join This Site...Google Friend Connect' button on the right side column. Or submitting your email where it says 'Submit' also on the right column [up the top].

Cheers,
Kathryn

Thursday, December 8, 2011

FOUNTAIN OF LIFE

Fountain of Life Gouache on paper 30 x 42 cm

My last post was called 'Below The Surface' and this new post will be linked, but tangentially so. Regular readers will be used to my tangents!

BACKGROUND
Regular readers will also know of my interest in water. I grew up on a grain farm on the rich black treeless plains outside Dalby, on the Darling Downs, Queensland, Australia. As an adult I spent eighteen years living further west in a small rural community called Goondiwindi. For much of my life water, its uses, cost, manipulations and 'value' has been part of my life. Goondiwindi was the commercial and social hub for a diversified agricultural community...cotton, sheep, cattle, grain, pigs, some fruit and vegetables. Irrigation made much of the farming activity viable, and above and below ground water supplies watered livestock.

This link HERE will take you to a Google image of my childhood landscape. The red colour in the fields is sorghum [obviously a very good season!]. It is truly beautiful! Imagine fields of sunflowers or wheat. The treeles flat plain is like an ever changing canvas.

WATER
Issues surrounding water are of paramount importance across the globe. In Australia water and its uses, allocations, price etc seem to be constantly discussed. Currently the ongoing debate about the Murray Darling catchment area, and agricultural use vs environmental impacts, has heated up. Also, heating up are concerns about above and below ground water and the impacts of coal seam gas mining on them.

So, for any new readers, the above paragraphs provide some background for the inspiration behind my paintings. My interest in water is part of a larger concern for the planet. I've listed more water paintings and posts below.

FOUNTAIN OF LIFE
In this new painting above, I wanted to capture a feeling of water rippling below the surface. Yes, there's that term below the surface from my last post. The female figure is Mother Nature. With the trees-of-life erupting from her feet and heart, she is the source of life on Earth and the Multiverse. She seems to swim in an ambigous 'landscape'. Is it an earthly landscape or a cosmological one? For me it is both and all. Beneath the main tree-of-life, with its vascular-like embrace, faint lines and shapes are discernible. Are these the remnants, meminders of life's first pulse? Are they below the surface or do they beckon to the beyond? The blue symbolises water, itself a symbol of the subconscious where the impulse for life exists? So below the surface, as I wrote in my last post, is a loaded term...is the surface a literal or a metaphorical one?

As we scramble to plunder the earth's resources, do we take time to ponder those elements which breath life into her and thus keep us alive? We are 70% water...and so is Earth.

I am not against mining per se, but I am concerned about the rush to develop and expand, without rigourous research into potential impacts on the environment and food production.

BOLIVIA
Bolivia is taking some interesting steps to place nature's rights on par with human rights.

Eath's Wisdom Gouache on paper 30 x 42 cm
Earth's Wisdom...need I say more?!

SELECTION OF WATER POSTS



UPDATE FOR EVERYONE: WORDS AND PAINTINGS



OFFICIAL LAUNCH
23 February 2012 6-8 pm
Fireworks Gallery
Scott Emerson MP, Queensland State Member of Parliament for Indooroopilly and Shadow Minister for the Arts, will be launching FOR EVERYONE: Words and Piantings

Please check out FOR EVERYONE's own page here

I am now listed as an author at Goodreads

Cheers,
Kathryn
You can see more of my work at: www.kathrynbrimblecombe-fox.com

Wednesday, November 30, 2011

BELOW THE SURFACE

Below The Surface Gouache on paper 30 x 42 cm

BELOW THE SURFACE Gouache on paper 30 x 42 cm

This work on paper is part of my Mother Nature series. The female figure is symbolic of Mother Nature. The trees which extend from her feet, and grow from her heart, reach out, below and beyond the surface. The pale green tree, which cascades across the 'scape', evokes the land's abundance, while the red, symbolic of soil, gifts the planet its nutrition. The white wavey lines and small blue strokes which whisper within the layers, speak of life systems, contours and hidden depths. The blue is suggestive of water and sky, the below and beyond. Regular readers will identify that the trees are my much loved transcultural/religious tree-of-life. This age old symbol speaks of life's systems and connects us with the past and propels us to the future. In the present it is up to us to hear its symbolic power.

BELOW THE SURFACE-LOADED TERM!

What a loaded term below the surface is! We talk about what's below the surface in a scandal, in financial implosions such as the GFC, beneath celebrity status, double entendres. We also talk and argue about what's below the surface of environmental issues. Below the surface can imply the 'real motive', the psychological impetus, the subconscious, intrigue, subtefuge, secrets. It also implies that what's below the surface is much larger, and possibly more significant, than what appears on the surface.

We are all so much more than what our exterior body appearance indicates. What's that old saying...'Beauty* is more than skin deep'. Or did I just make that up!? Funny though, when you think about what below the surface means it becomes appparent that it's not just about the below, but also the beyond. Indeed once the below is stirred and recognised its influence permeates across and beyond the surface. This can be a real physical influence on a material surface and into the atmosphere, or we can be propelled into other realms, such as the spiritual, imaginative and psychological.

CSG

This brings me to the coal seam gas debate [regular readers will know of my keen interest] which is heating up here in Australia with yesterday's release of the Senate Enquiry into CSG report. Here are just two media reports about the Senate Committeee's report  ABC Lateline Business and The Australian  Indeed, the Senate Enquiry dug beyond the surface, over many months of hearings and have recommended a number of actions based on well documented and research based fears, from various informed groups, about the affects of CSG mining on the Great Artesian Basin. Other issues involving potential impacts on prime agricultural land, health, social cohesion, farming practices, economic value were also presented to the Enquiry. The report is critical of, particularly the Queensland Government's, non precautionary principle stance. Indeed, I attended a forum on CSG at the University of Queensland in late 2009 where various representatives across the CSG debate spoke. The Government representatives indicated that their approach was 'well see as we go.' 

Another investigation that goes below and indeed beyond the surface is Paul Cleary's book 'Too Much Luck: The Mining Boom and Australia’s Future'. Check out the publisher's site Black Inc Books I have just finished this very thought provoking book. It examines a range of issues for us now and into the future. Cleary's concern for future generations means he has gone not just below the surface, but beyond as well. I highly recommend your read  'Too Much Luck: The Mining Boom and Australia’s Future'.

So, to a more literal level...a CSG well is not just its surface appearance. What happens below ground, and what is brought up from below ground, may have far more reaching influences, many of them possibly unknown for many years eg: a breakdown in naturally ocurring barriers between aquifers could possibly cause cross contamination of water types [saline and non-saline], loss of pressure could cause leakage from higher aquifers to lower ones and this may result in soil subsidance; methane gas leakage can cause a plethora of problems with one issue of paramount importance ie: methane is a  dangerous contributor to global warming. There are many more possible outcomes which have been expressed by farmers, scientists and academics. The precautionary principle seems pretty sensible to me!


PERSPECTIVE

Ideas of below and beyond the surface link with my interest in perspective. Regular readers will know of my interest! I play with perspective in my paintings by creating ambigious 'scapes'. As I have written before, I deliberately try to stimulate the viewer to move back and forth from my paintings. When viewed up close small details are discernible, but from a distance they are not. This dance back and forth, is similar to the 'dance' I move to as I paint. I work up close and then move back to view a painting from a distance, or I place a painting-in-progress in a spot where upon re-entering my studio, I see it with fresh eyes/perspective. I do think this 'dance' is a pretty good metaphor for how we need to negotiate life as we live locally in an increasingly globalised world.

Some earlier post on BEAUTY


FOR EVERYONE: WORDS AND PAINTINGS

My new book has it own PAGE - FOR EVERYONE


Cheers,
Kathryn

Saturday, October 22, 2011

BREATH

Breath Gouache on paper 30 x 42 cm

I am enjoying working with gouache on paper, continuing with the kind of paintings I wrote about in my last post QUIVER.

These new paintings are inspired by a few things...the age-old transcultural/religious tree-of-life, the female figure, my concerns for the environment, my interests in finding ways to visually seek out the potency of symbols so they have 21st century relevance and beauty. Regular readers will know of my interests and how they inter-connect to create paintings which are multi layered and often surprisingly political.
The painting above Breath places the figure of a woman, representing life giving, at the centre of a vortex or spiral. Have you ever played with a spiral? They quiver. It is this quivering, which reverberates back and forth, that makes me think of life forces, across time...past, present and future.
In Breath my much loved tree-of-life is depicted a number of times, with the red trees appearing almost lung like. The tree's capacity to mirror vascular systems and viscera excites and inspires me.

Signs of life ie: pulse and breath, do not recognise colour of skin, religion, sex or culture. We all share these fundamental signs of life, and as we feel our hearts beat and our breath's inhalation and exhalation, it reminds us of larger forces, earth's pulse and breath, and indeed, those of the multiverse. But, maybe we don't listen or take notice of these forces within us and around us? This question leads to the next painting called Montetizing Mother Nature, which has a more noticeably political intent, going beyond the reminder to notice which is implicit in Breath.

Monetizing Mother Nature Gouache on paper 30 x 42 cm

The three female figures are connected to earth via trees-of-life, as they are connected to the heavens. These vascular-like trees seem to pulse with life. The women are representative of nature, with the figure on the right is inspired by me! Yes, I have a very long plait, which reaches well past my hips. When my children and I went to see 'Avatar' we all thought I must have been the inspiration for the blue people, the ones with long plaits that could be connected to the life forces in the ground.!!!

Anyway, moving on...the women are 'decorated' with small $ signs. The 'landscape' is also painted largely with small $ signs. Regular readers will know that I often use small $ signs, initially not discernible when viewed at a distance, but clearly seen when the viewer is up close. I am 'asking' the question 'Have you noticed?'. I am also interested in the idea that a painting seen from a distance can be a different painting when viewed up close. This is a metaphor for the life we lead today ie: we live locally in an increasingly globalised world and we need to be able to 'see' multiple perspectives simultaneously in order to negotiate [I prefer dance] across the 'stage' which exists between the local and global.

In Monetizing Mother Nature I am thinking about the commoditisation of natural resources, the monetry value placed on carbon, water, wind and so on. Will a carbon tax eleviate global warming? That will be something we'll know in time, but I am sure there will be people making a lot of money carbon trading. Regular readers will know of my concerns about coal seam gas extraction and mining here in Australia and overseas. Huge amounts of money are being paid for exploration, mining, production, and foreign companies buying land and Australian mining companies. But at what real and ongoing cost? There is a vocal and growing community anti-CSG movement here in Australia, asking this very question. Without adequate scientific analysis of impacts on above and below ground water resources, potential soil degradation, plus social and health issues what might we ultimately lose? People are very concerned, frustrated, angry and anxious...all potent ingredients for social unrest.

Regular readers will know that I grew up on a farm on the Darling Downs and that I also lived, as an adult, for 18 years further west in the samll rural township of Goondiwindi. I understand the concerns people have about water and soil. I also understand farming practices and how CSG, and increased open cut coal mines, can affect production and efficiency. After reading a number of reports and articles, and attending forums on CSG I have been, and continue to be, deeply concerned about the haste of CSG activity, and the government's inadequate pre and current monitoring of the industry.

If one steps back from the close view ie: money money money to be spent and made...to take a view of the bigger picture as seen from a 'distance', the money to be spent and made now pales against the potential massive 'value' loss caused by a plethora of issues ie: the potential for loss of food producing farm land due to aquifer water cross contaminations, introduced contaminations, depletion, plus soil degradation; erosion of farming IP due to farmers leaving or forced to leave the industry plus subsequent unraveling of rural social fabric; the fact that methane is a more dangerous contributer to global warming than carbon dioxide..I could go on because the picture is BIG.

In Monetizing Mother Nature I am playing with the word monetize. It's a word I see on my BLOG backpage where I have opportunities to monetize it. The opportunistic nature of the commercial world is fascinating, but not so when the mindset erodes how we might 'value' things by monetization when their 'value' goes way beyond money.

Please see below a list of other psots where I write about my use of small $ signs.

Now for something a bit lighter!

What I Think About Whilst Planking/Bridging Gouache on paper 30 x 42 cm

This is me planking. Yes, my long plait, mentioned above too, has a gravity defying life of its own! I started planking, to keep me trim and tight, a while ago when a friend spoke glowingly about its affect on his waist line...and it was discernible! But, it is so incredibly boring. I count in tens, sometimes in 20s, just to break up the time, to get to around 40- 80 seconds, depending on how bored I am. But, when I start to imagine, as in the painting above, the time goes much more quickly.

OTHER SMALL $ SIGN POSTS


BLAKE PRIZE DIRECTORS' CUT EXHIBITION

My entry for the BLAKE PRIZE http://www.blakeprize.com.au/ whilst not a finalist was  in the group considered for the finals. AND, from that group the directors select works for what's called the DIRECTORS' CUT EXHIBITION. And, my entry COMPASSION is in it! http://kathrynbrimblecombeart.blogspot.com/2010/07/compassion.html
This link will take you to where you can see the list of selected artists. http://www.blakeprize.com.au/news/2011-directors-cut-artists-announced
The DIRECTORS' CUT is an online exhibition and the images are live from 26 October - 23 January.

Cheers,
Kathryn

Thursday, September 1, 2011

CURRENCY

Murray Darling Currency Oil on linen 120 x 160 cm
Click on the image to make it larger.

This latest painting Murray Darling Currency falls into my 'quiet activist' work. It is political although not initially overtly political. However, as the viewer ponders the painting, and notices various elements, commentary on issues surrounding the Murray Darling Basin/catchment is obvious. Check out this site for information on the importance of the Murray Darling Basin for Australian agriculture and water [obviously both related issues]. http://www.murrayriver.com.au/about-the-murray/murray-darling-basin/

This new painting follows a work on paper, by the same title, which I painted last year.

                                      Murray Darling Currency Gouache on paper 52 x 63 cm [framed]
                                      http://kathrynbrimblecombeart.blogspot.com/2010/11/murray-darling-currency.html

In both paintings the area of the Murray Darling Basin is painted with small blue $ signs to pose questions of value, all kinds of 'value'. The word 'currency' in the title deliberately plays with its many meanings, from water flow, to money, to contemporaneousness and political currency. The viewer does not discern the small $ sign when looking at the painting from a distance. They become evident as the viewer moves closer. This is a deliberate 'tactic' on my part to ask, 'Have you noticed?' Issues surrounding water supply and management, food production, soil nutrient sustainability, farmer returns, mining impacts, social cohesion, regional development and more all play their part in the life of the Murray Darling Basin.

In both the oil and the work on paper the 'landscape' is created with my much loved tree-of-life motif. In each case the tree spills out from the bottom left to cascade into land and sea. In the oil painting I have painted the continent of Australia depicting rainfall areas ie: the darker the green the more rainfall. The tree-of-life is a perfect life symbol as it denotes systems which give and propel life. Just as the body's vascular system propels life, the earth's water systems also propel life. The Murray Darling Basin is a perfect example of a life giving and propelling water system. When understood as a life system, like a vascular one, then questions of value take on a different perspective...don't they?

The work on paper Murray Darling Currency will be in my exhibition 'Paradise' opening next week 9th September in Melbourne [details below]. I will have a few of my 'quiet activist' paintings in the exhibtion as triggers to pose questions about environmental degradation and concepts of paradise lost. Indeed, what if THIS is paradise and human quests to seek paradise eleswhere 'out there' blind us to the paradise of here and now?

The new large oil painting  Murray Darling Currency will not be in the exhibition as I just finished it. All the paintings for 'Paradise' went off to Melbourne on Monday.

PARADISE


Exhibition Dates: 8 September - 8 October
Purgatory Artspace
170 Abbotsford St, North Melbourne
Tuesday - Saturday 11 am - 5 pm
03 9329 1800


ARTICLE   ARTICLE   ARTICLE   ARTICLE
AND Please read this wonderful article Carolyn McDowall from 'thecultureconcept circle' wrote about my work and 'Paradise'. http://www.thecultureconcept.com/circle/paradise-in-purgatory-kathryn-brimblecombe-fox-finding-light


SYMPOSIUM AT UQ

On Tuesday and Wednesday this week I attended a fascinating symposium at the University of Queensland. The symposium  was called:
Virtual Anatomies: The Cultural Impact of New Medical Imaging Technologies
Regular readers of my BLOG will probably know why such a symposium interests me. Over many years many scientists and doctors have asked if I have had medical or scientific training because they see vascular or reproductive systems in my work. Sometimes my trees look like brains or kidneys, cross sections of tissue or cells. [I have no medical or scientific training other than senior biology!] Yet, these same shapes, cross sections and so on can also take on landscape qualities, such as aerial views of water systems or moutain ranges, cross sections of land and so on. The body as site and site as body are the things that interest me. Even beyond the boundaries of earth...body as cosmos, cosmos as body. As regular readers know, I sometimes take the tree-of-life into the cosmos, to help find its roots in the beginning of time, as well as to reveal its symblic potency in the 21st century.

Cheers,
Kathryn

Monday, July 25, 2011

Jewelry of Nature

Innumerable as the stars of night,
Or stars of morning, dewdrops which the sun
Impearls on every leaf and every flower.
~John Milton

Tuesday, May 31, 2011

HIATUS

I was just about to load up a new image when my trusty, old computer died. This happened on Sunday. So, I took my computer to the fixit place hoping that it was going to be a simple diagnosis. But, NOOOOO!

I have ordered a new computer...thus I am anxious. Thankfully my hard drive is ok and all my stuff can be transferred to the new computer. But, I will have to learn how to negotiate my way around new software...my old computer's operating system was XP and a lot has happened since then. Hopefully I will be up and running...and in love...with my new computer by tomorrow afternoon...well in love by Sunday when I will have sussed out everything. My Dad is a HAM Radio man and I grew up with the latest of technology...I think that's why I am not too overawed by the latest and greatest of tech developments. However, as a result of genetics I am quite techno intuitive, so will enjoy putting my IT hat on for a few days. One of my brothers is in supercomputing...now that's impressive!

So for regular readers of my BLOG there is a hiatus where there are no images of paintings. My daughter's computer, which I am using now, does not have an image programme that reduces file size...so no images of the new painting I finished on Sunday. I don't upload 300 dpi images of art to protect from copying.

INTERESTING CSG LINKS
But, this hiatus gives me an opportunity to provide some interesting links. One is an article written by a lawyer [with a PhD] about the consultative process here in Australia...and probably similarly overseas re: Coal Seam Gas. It is a very probing article which clearly illustrates the need for a more representative consultative process with a fundamental decision making basis in science. His statements about cumulative problems, plus an inference about how to represent future generations are insightful.  http://www.independentaustralia.net/2011/queensland/resolving-the-csg-crisis-through-proper-public-participation/ 

The next article is written by a biochemist Dr. Gideon Polya. It is scientific rebuttal of the assumption that gas is cleaner and greener than other fossil fuels...yes gas is a fossil fuel. This article is a MUST read as it is not long and can be easily understood by the layman. Polya's description of the potential future is awful and is a reminder that today we must find ways to represent future generations.     
http://www.gabpg.org.au/httpwww-openforum-com-aucontentgas-can-be-dirtier-coal-government-ngos-falsely-assert-gas-clean-energy


I did upload an image of myself conducting a workshop on Saturday, but it did not upload properly. So, no photos today.
 Maybe you'd like to check out my 'Water and Gas Gallery' on my website...link below.


Cheers,
Kathryn
www.kathrynbrimblecombe-fox.com

Monday, May 23, 2011

GAS GALLERY

Commodified Oil on linen 36 x 36 cm

I am back in my studio working on an oil painting. But, it will be awhile before it is finished. I am working towards my exhibition Paradise @ Purgatory Artspace in Melbourne 8 Sept- 8 October. Stay tuned for updates as time goes by.

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PARADISE UPDATE 13 SEPTEMBER 2011:

PARADISE opened at Purgatory Artspace, North Melbourne last Friday.
The exhibition continues until Saturday October 8.
Tuesday - Saturday 11 am - 5 pm

PURGATORY ARTSPACE
170 Abbotsford St, North Melbourne.

Check out PARADISE on ARTABASE

CAROLYN McDOWALL'S ARTICLE

AND MY BLOG POST
PARADISE and 3D
ARTIST'S TALK 24 September information too

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Original GAS GALLERY post now continues:
Regular readers will know of my concerns about the impacts of the burgeoning Coal Seam Gas industry [plus open cut coal mining] here in Australia and elsewhere around the world. In the last couple of months public awareness of, and concern about, the industry has increased incredibly. So much so, that the media, politicians and the industry itself are beginning to realise public concern is not coming from just the fringes.

Yesterday a gas well at Daandine, near Dalby where I grew up, blew. Here are two articles about the event. http://www.theaustralian.com.au/news/breaking-news/coal-seam-gas-well-blowout-near-dalby/story-fn3dxiwe-1226060868637


Events such as these [and this is the 4th leakage, blowout on this property] highlight the risks of this industry, not only to safety, but to the environment, to water, soil and ultimately food production and sustainability. As I have written before, applying the % risk that business is used to, is not the % of risk science would apply to activities with potential impacts on the balance of nature eg: the intricate and complex system that is the great Artesian Basin.

I decided to create a 'Gas Gallery' with a selection of my paintings that have been 'inspired' by my deep concerns. As I have written before this is my 'quiet activist' work. Yes, and it is political. In most of the paintings I use small $ signs to create the image details ie: soil, water, sky etc. The smallness of the $ signs means viewers do not discern them from a distance, but as the viewer moves closer the $ signs become apparent. I am 'asking' the question, "Have you noticed what's happening?'


Cooked With Gas Gouache on paper 30 x 42 cm

Underground Currency [Great Artesian Basin] Oil on linen 80 x 100 cm


$oils Ain't $oils Anymore Oil on linen 80 x 100 cm

Detail $oils Ain't $oils Anymore

Salination Gouache on paper

Salt Eternal Gouache on paper

Can We Eat Coal For Breakfast?  Gouache on paper 30 x 42 cm


GAB: Great Artesian Basin Gouache on paper 30 x 42 cm

Royalties Gouache on paper 30 x 42 cm

Tendering Gouache on paper 30 x 42 cm

Value Gouache on paper 30 x 42 cm

Risk Gouache on paper 30 x 42 cm

Earth For Sale Oil on linen 120 x 160 cm

Lifeblood Oil on linen 90 x 200 cm

Well, it is back to the studio for me. But, before I go, I am very happy to report that 2 of my 3 paintings in the Women's legal Service Qld Exhibition sold on the opening night, plus the painting that was included in the Auction.

Cheers for now,
Kathryn