Saturday, September 16, 2017

ANOMALY DETECTION (NUMBER 2)

Anomaly Detection (Number 2) Oil on linen 120 x 180 cm 2017


The term 'anomaly detection' is a technical one. With contemporary technology and the help of algorithms and artificial intelligence, systems have been devised to detect unusual online behaviours, discrepancies in documentation, weaknesses in cyber systems, and unusual patterns in things like financial transactions and movements of people etc. Anomaly detection enables, in many cases, preemptive action such as isolating/fixing weaknesses in cyber systems, identifying potentially dangerous activities and malign intent. Anomalies can be detected in image, written and online data that is collected, analysed and stored. 

Where did the idea for Anomaly Detection (Number 2) come from?
The idea came after I saw a drone manufacturer's promotional video that demonstrated anomaly detection capabilities of airborne drones. This is where the drone's wide-area electro-optical surveillance systems can cast such a wide net that, for example, three vehicles travelling at speed and many kilometers apart, could be identified as aiming for the same destination. In the case of war and conflict zones this may indicate that the vehicles are aiming for a target, either to destroy it, deliver insurgents to it, or possibly protect a valuable human asset. The latter, of course, in the eyes of those watching may be considered a high value target - HVT.  

So in Anomaly Detection (Number 2) I have turned the surveillance back onto the drones; in this case three weaponised Grey Eagle drones. I am suggesting that imagination can deploy its own wide-area - even cosmic - surveillance capabilities to question whether technologies designed to detect, monitor, surveil and target, are really beneficial for humanity and the planet. In this painting the three drones seem to be aiming for the same destination - the pale blue dot. Here, I am drawing upon Carl Sagan's term for Earth as it was seen in a photograph taken by spacecraft Voyager 1 as it started to leave the solar system in February 1990. The photograph showed Earth as a small pale blue dot situated within and against a myriad of other shining celestial entities. Earth is blue because we have water, and oxygen in our atmosphere; signs of a planetary environment that can sustain life. The three drones in Anomaly Detection (Number 2) potentially threaten the pale blue dot

Anomaly Detection (Number 2) poses a few questions about the vulnerability of humanity and Earth's environment in an age of accelerating technological development. The drones can be seen as literal threats or a metaphor for a society seduced by technology, or exhausted by it. The three drones are painted as if they are pixelated, thus representing their reliance on, and use of, digital and cyber systems. The pixels also suggest a kind of virtual reality, mimicking images seen on computer screens, either those used by drone operators or those used for war games and simulations. There is plenty of room for anomaly detection!

New Sky
The drones are also painted blue to reflect upon the way vertical threat creates a new sky. This is particularly so in places such as Somalia, Yemen, Pakistan and Afghanistan where drone operations and attacks have made people fearful of the sky. In an age where Voyager 1 now travels in interstellar space, the fact that people on Earth are afraid of the sky, is an indictment on humanity. 

Dronescape 
Anomaly Detection (Number 2) is another of my dronesscapes, but it is also a cosmic landscape provoking and pushing perspective, of all kinds, beyond Earth, even beyond the solar system - and - possibly this universe!  

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In 2014 I painted Pale Blue Dot [below]

  
 Pale Blue Dot Oil on linen 120 x 160 2014


Anomaly Detection
I recently painted another Anomaly Detection painting [below]. It is a work on paper, depicting three weaponised Reaper drones aiming for the tree-of-life. 

   
Anomaly Detection Gouache on paper 56 x 76 cm 2017



Cheers,
Kathryn

Sunday, September 10, 2017

DRONE: ENDURING PRESENCE (META LANDING)

Drone: Enduring Presence (Meta Landing) Oil on linen 30 x 40 cm 2017


Here is a painting of an airborne drone. It is armed with two guided missiles and four Hellfire missiles. Its wide-area electro-optical surveillance system is identified by the darker red spot under its nose. The drone's wheels are down, as if readying to land, or perhaps readying to take off. However, although there is an indication of a landing tarmac, its appearance is ambiguous. It presents as if it is an illuminated field, but one with a translucent, non-material appearance. It could be a number of things - a lit landing field, an indication of the drone's pervasive surveillance capabilities - or - even a symbol of pervasive threat.  

If it is an illuminated landing field, the drone appears to be landing in the sky. The landing field, therefore, connotes a kind of cosmic one. This implies an almost imperial prerogative over the sky. If the illuminated area under the drone indicates its pervasive surveillance capabilities, the empire building prerogative is made even more intentional. That the illumination wraps around the drone gives the appearance of an almost godly or at least, a celestial quality. Certainly, empire building seductions...However, presented this way, the drone is clearly a false god and a false star. In either case - a warning.

There is a lot to think about and say in this age of fast paced drone and autonomous systems development. Apart from the technical aspects, which are quite remarkable, there are contingent social, ethical and political ramifications, especially regarding weaponised technologies. If you believe that war is always inevitable, the continuing development of weapons' systems is also inevitable. Hand clapping stuff for weapons' manufacturers and neo-liberal market forces that reach into the future in ways that militarise imaginations. Hence the 'meta landing' idea presented in the title of Drone: Enduring Presence (Meta Landing). A 'meta landing' goes well beyond simply landing on a tarmac in a military base. It represents a landing into consciousness and the future.

I wonder what it would be like if we seriously posed questions that related to the idea that war is not inevitable. In the small chance that it is not inevitable lies a future for humanity that is radically different to the one driven by beliefs that war is inevitable. 

Cheers,
Kathryn


Saturday, September 02, 2017

AN INVITATION TO FLY


An Invitation to Fly  Oil on linen 40 x 50 cm 


When I was a child I flew! Yes, I did. 

Somehow, I knew what my parent's farm looked like from above. This was without flying over it in a plane. Also, the farm was on a flat treeless plain, so there were no hills to gaze down upon my childhood landscape. Although my Mum grew a beautiful garden on the flat plain, there were no really tall trees to climb high enough to gain an aerial view. My Father's HAM Radio aerial was probably the tallest thing on the farm - and - it was far too difficult to climb, especially to the top!

I flew!

How I flew I am not sure, but certainly my imagination had a part to play. And, it continues.

Over the years my paintings give testimony to an ability to 'transport' myself above and beyond a landscape, local and planetary! The aerial perspective is one of the common themes that runs through my work. So, it is not hard to understand why I am interested in cosmology, the scientific study of the universe across all temporal and spatial scales. Additionally, my interest in airborne militarised drones and their increasingly autonomous capabilities can be contextualised into themes of aerial perspective. However, I try to elevate myself beyond the reach of the drone to turn the gaze back onto it - in fact - to roam around the drone - above, below, beside it - taking cosmological perspectives. By doing this, I invite the viewer to also play around with perspectives. [Please browse through other posts to see more of my 'dronescapes'].

An Invitation to Fly recalls my childhood daydreams and imaginings. Relentless blue skies, occasionally dotted with white fluffy clouds, seemed to invite me to fly. The flat western horizon often shimmered with mirages that melted land and sky into oneness. This certainly helped to generate a feeling of being aloft, as if the ground had slipped away, leaving me hovering. 

An aerial perspective, even a cosmic one, though, can help us orient the way we perceive threats to our planetary environment and the plants and creatures that inhabit it. These creatures include us human beings. As Carl Sagan's commentary on the famous "Pale Blue Dot" photograph notes, for the current moment there is nowhere else for us to call 'home'*. Sustainable interplanetary squatting by humans is some time away! More specifically the increasing colonisation of the skies by surveillance and lethally equipped drone weaponry disrupts perspective by creating a layer of threat that impedes access to cosmic perspectives, even imagining them. If the sky is 'falling in', as it metaphorically does in conflict places such as Yemen, Pakistan, Afghanistan, Iraq and Syria, it is an indictment on us all - especially in an age where astronomers and cosmologists are discovering more about our universal environment - which may actually be a multiversal one. 

An Invitation to Fly could be an invitation to you. It could be my childhood memory. But, maybe we are already flying and we are gazing down upon Earth - is it actually Earth? Or. are we on Earth gazing upwards, about to take off? 



* My painting and post Pale Blue Dot 

Monday, August 28, 2017

SENSORED

Sensored oil on linen 50 x 50 cm 2017


We humans are increasingly 'sensored' beings. By this, I mean, we are equipped with, attached to or carrying devices that are operated by digital and cyber systems that interconnect across skies, land, seas and space. They interconnect using even more devices such as satellites, land-based receivers, servers and more. 

The devices we interact with, whether a phone, a car, a computer, an implant or other - 'sensorise' us. They make us a part of, or even a node in, cyber and digital networking systems. And - in a funny way, they also censor/ise us, but maybe we have not fully comprehended this yet? 

Transhuman - Translandscape
As our bodies carry devices in ways that transform us into transhuman-like creatures, they also transform the way our landscape or environment operates or is viewed. For example, skies 'colonised' by unmanned weaponised airborne drones change the way the sky is perceived. This is particularly so in places such as Yeman, Somalia and Afghanistan where the skies are seen by many as harbouring a potential lethality. In these cases the landscape becomes vulnerable, offering little refuge when vertical surveillance penetrates even the privacy of everyday life. A landscape crisscrossed with humans carrying and using devices, and buildings equipped with even more, develops another layer - not geographic - but, an unseen layer of signals. These signals variously traverse the globe, bounce from earth to satellites and back again. A 'translandscape' possibly? Another recent painting and post Space Net refers to this kind of activity. 

Sensored
In Sensored red 'signals' emanate from behind a cloud. What lurks behind this cloud? A drone maybe? The red signals continue beyond the painting. They indicate a wide net, a net of surveillance. In doing so, they reveal how the sky is now 'sensored' in a way that is not dissimilar to the 'sensorising' of human beings. It's an insidious process - don't you think? 

Like many of my paintings - dronescapes, landscapes. cosmic landscapes - the viewer could be above the clouds looking down upon a landscape, maybe a seascape. In this case a drone is possibly lurking below the clouds. However, the viewer could also be on the ground looking up into the sky where a drone could potentially be lurking above the clouds. With these two possible perspectives the painting somehow provides a powerful stimulus for imaginative flying around a drone - in ways that turn the surveillance back onto it.    

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WESTERN QUEENSLAND 

Now for something a bit different. The photo below is me in the very back of a landcruiser. We've just driven around checking cattle. 

I spent a fabulous weekend out in Western Queensland - Roma, Mitchell and Mungallala. 

An old school friend has a cattle property beyond Mungallala. We had a camp fire, damper, homemade sausages. And, we helped check on cattle, their water [it is very dry]. We saw a brown snake - early for the season. We saw hundreds of kangaroos, both dead an alive. And, emus - so many - all alive! We went to the Mitchell Art Show, the Mitchell Camel and Pig Races, and had a wonderful dip in the Mitchell artesian spa. One of us bought a hat, a country man's hat, from the fabulous Samios Trading Post store in Mitchell. Two people in our group were from Europe and it was so much fun to see country Australia through their eyes. Everything, absolutely everything, was new to them. 

We spent a day in Roma too. Visited Moorelands nursery where you can have a bite to eat amongst an oasis of plants, bush crafts, children playing and more. We also visited the BIG RIG which tells you all about the history of the oil and gas industry out there. This recent history has been somewhat controversial with the increase in coal seam gas exploration. 




Cheers,
Kathryn

Friday, August 18, 2017

TACTICS

Tactics Oil on linen 70 x 100 cm 2017


In this new painting a play of tactics is under way! 

The airborne weaponised drone is targeting the tree-of-life. The tree is isolated in a 'kill box', a virtual three dimensional graphic that delineates a zone around an identified target. Emanating rays above the tree-of-life indicate ongoing surveillance by another drone or maybe a control base of some kind. Whatever it is, the signals represent persistent surveillance by manned and unmanned entities. At the end of each white signal-ray, a small red box indicates potential further targeting.

BUT

The tree-of-life has sent its roots under the 'kill box'. A survival tactic subverting the digital reach! The tree's roots seek out places that a drone cannot penetrate - maybe literal subterranean places, but maybe spiritual realms? The tree succeeds in sending out new green shoots, to bring forth life. BUT, it may not represent human life - and - it may not be on this planet - or - even in the universe! This may sound loopy, but I am thinking of theories about multiverses, and I am also thinking about a future where humanity/life may have left planet Earth. Indeed, we humans are already planning settlements on Mars. But, Mars is still in our solar system. What about humanity/life in other solar systems, even galaxies? An extreme escape!


COSMIC LANDSCAPE - DRONESCAPE
This is another of my cosmic landscapes - or - dronescapes. I like the fact that the viewer can be, at one instant, above the drone, and at another instant, below it or along side of it. By untethering imagination from Earth-bound horizons and taking cosmological perspectives all of us can turn the gaze-scope back onto the drone! Now that's a tactic!

In an age where the sky in many parts of the world is colonised by human-made but unmanned airborne threat, the resulting grip of fear diminishes all of humanity. In an age where the marvels of the universe unfold through scientific research, the containment of our earthly skies and the resulting impost on perspective, are indictments on humankind. 

Taking concepts of landscape into the cosmos helps - for me anyway...

Cheers,
Kathryn 

Thursday, August 10, 2017

GREEN-EYED DRONE


Green-Eyed Drone Oil on linen 120 x 160 cm 2017


Good news - I have received notification that my Master of Philosophy [University of Queensland] thesis has been passed by two external examiners without requests for changes. I'm told this is quite rare, so I am feeling pretty happy! Celebration time💥 I will graduate in December, in the end-of-year graduation period.

As regular readers know, once I submitted my thesis for examination, I immediately returned to painting with oil paints. While I was studying I had been painting only works on paper. My own work was not part of the thesis, as it was not a practice based degree.


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Green-Eyed Drone is the first big post-thesis-submission oil painting. The underpainted red background had been completed ages ago. It's glimpsed in a few spots. The layering plus the new  glossy paint makes it really hard to photograph, but here it is! 

Regular readers will understand where the idea of a green-eyed drone came from. Part of my M. Phil research included examination of contemporary militarised technology, including airborne drones and night vision technology. This parlayed into studies about the increasingly blurred lines between civilian and military use of cyber and digital infrastructure and systems. So, simply put, whilst the military utilise increasingly autonomous and unmanned systems to optimise engagement in declared and non-declared battlefields, civilian entities also utilise scoping and surveillance technologies to 'target' customers, constituents and so on. 

Eye/Node
In Green-Eyed Drone there is no drone per se. Rather the idea of being droned is indicated by the red eye/node with the night vision green pupil/node. Here, I play with the often used term to describe an airborne drone ie: "eye in the sky" - indeed, there is a film by the same name. I have some issues with anthropomorphising technology by using words like 'eye' and 'vision'. Thus, I have tried, in this painting, to make the eye look unreal, mechanical, even channeling the appearance of computer chip components. This is extended into the 'eye-brow' radiating signals. These could be surveillance or communication signals, made visible by paint. Or, they could also denote a kind of computer chip board circuitry appearance. Similarly, the radiating rays from beneath the eye/node - they could be lashes or maybe tears. In my mind, they are surveillance signals, again made visible with paint. The so called 'eye' clearly becomes a scope, its night vision capabilities enabling it to scope day and night.

The landscape of bright cadmium red highlights may indicate fiery battle has occurred - the drone having scoped targets and then attacked. Or, the red highlights could be signs of a community; dwellings, roads, and other buildings - under surveillance. Or, maybe it's a landscape of crops. For example sorghum, its red seeds glowing on a moon-lit night? 

Green-eyed monster
I am also playing with the idea of a 'green-eyed monster' - a term coined by Shakespeare in Othello [Act 3: Scene 3]. Iago to Othello says:

Oh, beware, my lord, of jealousy!
It is the green-eyed monster which doth mock
The meat it feeds on. 

The idea that a green-eyed monster mocks death, feeding upon its victims, is a salient one to ponder as the 'weapons' for contemporary 'battles' become more asymmetrically and pervasively deployed. 

Maybe the tree-of-life, acting as a beacon for life in Green-Eyed Drone, has some answers?  

Cheers,
Kathryn

Thursday, August 03, 2017

RETURN OF THE TURPS




"Return of the Turps" is not about me returning to binge drinking - I've not ever binged my alcohol! Rather, it is about me returning to my oil painting. Yes, the smell of turpentine again wafts through my studio [aka garage] and my house. 

After nearly two years completing my Master of Philosophy research thesis at the University of Queensland, I have not only submitted my thesis for examination - it has been returned by both examiners, with terrific feedback, and no requests for changes or corrections. I am VERY happy. 

While I was researching I did not give up my painting practice. Rather, I only worked on paper, using gouache and watercolour paints. My paintings were not part of my university assessment, but as regular readers will know, I've been quite productive! I have quite a large body of what I call "dronescapes". They reflect upon my academic research into militarised drones! 

However, since submitting my thesis, I have now returned to my oil paints. 

In my last post Research Into Drones: How It Has Influenced My Creative Practice I explained how my university research topic came out of my painting practice - and - how the research has, in turn, influenced my practice. But there is something else. What has surprised me is the how two years of only working on paper has caused slight changes in how I paint with oil paints on stretched canvas. I cannot quite put my finger on it yet, but it feels different, and I think the paintings I am working on, look slightly different. This is welcomed! As a painter I want to develop and respond to influences. Regurgitating the same thing or look is not on my agenda - I bore too easily!



               
New oil paintings in progress. On the left is The Green Eyed Drone. It's not quite ready. The other two paintings are in their very early stages.

STUDIO PHOTOS
The two studio photos above show various works in progress. As you can see from the photo immediately above, the painting on the left, The Green Eyed Drone, continues my interest in thinking about militarised drones, surveillance and more. The tree-of-life is also there. I might discuss this new work in my next post - depending on whether I think it is finished. Time will tell.

The painting on the easel in the photo immediately above, is also in the photo at the top. However, in the top photo I have worked on it and, as you can see, I continue to work on it. I am thinking of calling it Zone. 

I am thoroughly enjoying being in amongst the mess of oil paint - paint on my hands, in my hair even, on my face [a surprise to see in the mirror as I quickly check my appearance before leaving the house]. I am also enjoying wearing very old clothes, wiping my hands across them, dabbing my brush on sleeves - and so on. 

Until next week,
Cheers,
Kathryn


Thursday, July 27, 2017

RESEARCH INTO DRONES: HOW IT HAS INFLUENCED MY CREATIVE PRACTICE

Dronescapes in my storage drawers


About ten days ago I submitted my Master of Philosophy thesis. For the last nearly two years I've spent most days at my desk at the University of Queensland, School of Communication and Arts. In the evenings and some weekends, I spent time in my studio, painting. It was here that I worked through my research in a different way. Regular readers will know, it has been quite productive!

My university research was focused on  how two Australian artists, George Gittoes and Jon Cattapan, represent contemporary militarised technology in their paintings. Particular attention was paid to their responses to using night vision technology, and in the case of Gittoes, witnessing the deployment of airborne drones. I examined the various moral, ethical and political questions raised by their work. I won't write too much about this aspect of my thesis - as I am looking into publishing articles about each artist. If they get published, I shall let you know!

ART HISTORY - And OTHER DISCIPLINES
Although I was in the Art History department, my research crossed into other disciplines, including Cultural Studies, International Relations and Political Science. Additionally, I thoroughly enjoyed technical research into militarised drones and night vision, and other cyber and digital technologies associated with their operation and deployment. 

The technical research, coupled with cultural, legal and philosophical critiques of militarised drone technology, inspired my own creative work; my out-of-hours responses to the pictures that popped into my head as I read book after book, article after article, explored drone manufacturer websites, and delved into the history of drone technology and night vision. 


Larger Dronescapes in my map drawers



CREATIVE PRACTICE - ACADEMIC RESEARCH
But, this kind of inspiration is not a departure from my interests prior to commencing my M. Phil. For example, my earlier paintings depicting strings of binary code reflect interests in contemporary technology, and its effects on humanity and life. By juxtaposing code with the age-old transcultural/religious tree-of-life these earlier paintings also reflect my responses to ideas about existential risk posed by emerging technologies. At uni I had to narrow my topic to specific contemporary technologies. Thus, the focus on militarised technology - drones and night vision's association with increasing surveillance. 

My academic research topic came out of my painting practice - and it has fed back into it. My creative work completed during the last nearly two years is not part of the degree in a formal sense, but I consider it a major contributor to processes of critical thinking and the generation of new ideas. These have influenced both my academic research and my creative inspiration.

BODY OF WORKS ON PAPER
As the photos above demonstrate, I have a lot of paintings to show for my near two years of study. Actually between 80 -90 paintings, some smaller and some larger. They are all works on paper, because I knew oil painting would take too long and I'd be torn between spending time in the studio and at university. Neither activity would have benefited from this! These works on paper, though, track my research processes in ways that enabled spontaneous reaction to the research. The whole experience was really rewarding.

I'd love to exhibit these paintings. Curatorially there are a few aspects that could be developed!

A few exciting things happened during my study with regards to my own paintings. 

  • My work was featured by the Center For The Study of the Drone, Bard College, New York - Portfolio: Dronescapes by Kathryn Brimblecombe-Fox 
  • My work referred to by Dr. Kate Kindervater from Dartmouth College in her review of Dr. Ian Shaw's book Predator Empire
  • My painting Gorgon Stare heads Dr. Christopher J Fuller's post on Yale University Press's Blog Yale Books Unbound in the lead up to the publication of Fuller's book See It/Shoot It
  • My painting The Tree of Life Sends its Energy Underground is on the front cover of The Australian Women's Book Review 27, no 1 and 2. Additionally my article “Airborne Weaponised Drones and the Tree-of-Life” was also published.
  • My painting Red Rain is on the cover of HECATE 42/1 (2016) and an article by me is included in the publication.

RETURN TO OIL PAINTING
The photo below is of two stretched canvases. Yes, the aroma of turps has returned to the studio and house. 




NEWS
My entry, Universal Code, for the inaugural $35,000 Ravenswood Australian Women's Art Prize has been selected as a finalist. The Award is announced on August 4.

Cheers,
Kathryn

Thursday, July 20, 2017

THE NEW CLOUDS

The New Clouds Gouache on paper 56 x 76 cm 2017



I've previously painted airborne drones as 'clouds' and here is another painting where clusters or swarms of weaponised drones create cloud-proxies in the sky. 

I am playing with ideas of fluffy clouds that literally dance around our skies - and - THE Cloud where, with a click or two on our various cyber devices, we share and send photos, documents, data etc to be 'stored' remotely in ways that are accessible to us. But, who or what else can also access our data? 

TARGETING
In my mind, are also thoughts of targeting! Here, in The New Clouds I've 'targeted' one of the drones and it erupts in flames. But, the remaining drones continue with their proxy 'dances'. They do not seem to detect that they are being watched - by you and me. Here, I've attempted to turn pervasive surveillance, with its targeting agenda, back onto the drones. We - you and me - could be everywhere - above the drones, below them, in front of them or even behind them! 

THE CLOUD
With regards to THE Cloud, it offers another kind of opportunity to 'target'. Advertisers, corporations, governments and so on, can access data that includes our online patterns of behaviour, to 'target' us with goods, services and promotions. There's a plethora of uses for this kind of data - and it is not always as benign as an advertiser targeting your Facebook page with Landrover Discovery ads moments after you have searched online for your dream car! Yes, I am keen on Discos - the old version.

That THE Cloud's operations actually exist and occur as a result of material infrastructure belies the notion of fluffy vapourous clouds. Massive servers require space in huge buildings. Servers suck energy, and they need to be connected and interconnected with cables that cross continents and oceans to ensure backup, rerouting and instantaneous reactions. The harnessing of space based assets to assist connectivity adds another layer of material infrastructure beyond Earth's atmosphere. And, in one way or another, all this infrastructure is used for both civilian and military purposes, thus blurring the lines between battlefield and city/home. 

AWARENESS VERSUS DETECTION
Like the drones in The New Clouds, are we oblivious to the pervasive surveillance into our daily activities? The drones cannot be aware or unaware, because they are not sentient. Their sensor systems simply detect or not. Yet, we have powers of awareness, but are we using them? Do our devices, constantly accompanying us in our pockets, our handbags and embedded in our cars etc transform us into nodes in a system that ultimately renders awareness obsolete and detection capabilities pragmatically more efficient?



The New Clouds is another of my dronescapes or cosmicscapes - or - maybe it's a skyscape? Whatever it is, it reflects upon the technical, philosophical, political and historical research, into contemporary militarised technology, I have undertaken for my Master of Philosophy at the University of Queensland. Happy to report that I submitted my thesis this week! And, I have around 90 works on paper, completed over the last nearly two years, that track my research progress. Now to find somewhere to exhibit them!

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NEWS
My entry, Universal Code, for the inaugural $35,000 Ravenswood Australian Women's Art Prize has been selected as a finalist. The Award is announced on August 4.


Cheers,
Kathryn



Drone Clouds Gouache on paper 30 x 42 cm 2016


Cloud Storage Gouache on paper 30 x 42 cm 2016


Sky-Drone-Net Gouache on paper 30 x 42 cm 

Thursday, July 13, 2017

CROSSING THE RUBICON

Crossing the Rubicon Gouache on paper 67 x 56 cm 2017



POINT OF NO RETURN
The term 'crossing the Rubicon' means, being at the point of no return. Historically there is a background story. In 49 BC, Julius Caesar's army crossed the Rubicon River in north east Italy. It was considered an act of insurrection and treason, and a declaration of war against the Roman Senate. 

When I painted the new work above, I was also thinking about the event horizon, a cosmological term to describe the 'point of no return' at the entry of a black hole. However, a black hole emits nothing, not even light, and my new painting reveals a fire - is this a hopeful sign? 

FIRE - HEAT - LIGHT
Despite the fire in Crossing the Rubicon indicating light, the tree-of-life seems threatened, not by a black hole's event horizon, but by another kind of possible point of no return. This point relates to climate change commentary regarding global warming. At what point will it be too hot for humans, and other creatures and plants, to survive? Will we all have time to adjust? Or will we be like the proverbial frog placed in water that is brought to the boil - not noticing how hot it is until too late! Should we develop extremophile characteristics? Maybe we are already mutating? Extremophiles are organisms that survive in extreme environments and temperature conditions. Fascinating critters! Yet, maybe transformation into transhuman/robotic entities is the only way we might survive?

In Crossing the Rubicon a tree-of-life is drawn towards a place where it suddenly erupts into fire. However, whilst fire is destructive, it can also symbolise renewal. Maybe the point of no return can be avoided or maybe it triggers something else, another way of being? Maybe the point of no return, 'crossing the Rubicon', is about social and political will? 

Crossing the Rubicon may indicate no return, but it does not negate a future - of some kind. 

COSMIC LANDSCAPE
Crossing the Rubicon is another of my cosmic landscapes. You could be looking down from space upon a literal landscape, maybe not even Earth! Or, you could be looking up at a 'spacescape', witnessing cosmic events unfold. Or, maybe looking into a landscape - somewhere. Cosmic perspectives offer intriguing ways to view ourselves, our planet and our universal environment. 



Please check out COSMIC FIRE and THE BODY POLITIC

Cheers,
Kathryn

Saturday, July 08, 2017

THE BODY POLITIC

The Body Politic Gouache on paper 76 x 56 cm 2017


THE TERM 'THE BODY POLITIC'
The term 'the body politic' is used as a metaphor to describe a nation, a sovereignty, a corporation where people are organised, or considered as a group, subjected to laws pertaining to notions of citizenry. 

In a globalised world 'the body politic' can be considered as being all of us. 

The notion of a body to describe a group of people, and the systems that organise them, is intriguing. There is a fascinating history - but that's another post! 


THE HUMAN SECURITY FORUM
I've been stimulated to think about 'the body politic' after attending a terrific one day workshop "The Human Security Forum" hosted by Griffith University and facilitated by Dr. Samid Suliman, here in Brisbane, Australia. One of the presenters was a visiting scholar, Dr. Stefanie Fishel, from Alabama University, USA. Her book The Microbial State: Global Thriving and the Body Politic  is launched this month. [Check it out for the historical and philosophical background to ideas of 'the body politic' too]. 

After hearing Dr. Fishel speak at the workshop, and a few days later at an event hosted by the Queensland School of Continental Philosophy, the metaphoric capabilities of the body [human and non-human] were expanded, but also made more material. In making the metaphor more material, the body's relationship with its environment became more evidently important - for survival. In the age of the Anthropocene, this opens up more penetrative ways to think about 'the body politic's', ie: humankind's, relationship with Earth, the atmosphere and space. As I have previously written, Earth is our home, but the universe is our environment.* By blurring the lines between body and environment, making porosity evident, it becomes evident that they are interchangeable. This interchangeability is metaphoric, visceral and corporeal.

Ah, Ha! The spiritual notion of oneness has a catalytic essence, amongst others - of course! 


TREE-OF-LIFE
So, after mulling over ideas that popped into my head as I listened to Dr. Fishel, the age-old transcultural/religious tree-of-life symbol kept returning to me [regular readers will not be surprised!] as a motif that straddles the nano and the vast, linking body and environment. As the tree's branching appearance mirrors our human body's internal systems it also mirrors water, plant and landscape systems of Earth. The branching phenomena, above and below the ground, is also reflected in our eyes, on the palms of our hands and in finger prints. Other animals share body functioning traits, as they also share this planetary environment with us. Further afield, the tree's branching appearance is reflected in images of space, from nebulae to even large scale computer simulations of the structure of the universe. And, one wonders about multi-universes as branches and roots from a primordial 'tree' of no end or beginning! 


THE PAINTING - THE BODY POLITIC 
In The Body Politic I have painted another of my cosmic landscapes. The 'body' of the 'landscape' is on fire. This 'landscape' represents all kinds of environments, from the body itself - to a personal address - to a cosmic one - and more. The fire could be taken a couple of ways. Is it a destructive fire, or is it symbolic of renewal? The trees-of-life, moving up the centre of the painting, inhabit what I'd imagined as a kind of airway through the fiery 'body/landscape'. Here, the trees act as filtering follicles that keep air moving, making individual and collective breath possible. That trees literally produce oxygen is a key to the osmotic relationship between breathing bodies, the environment and even organisational concepts, such as the 'body politic'.

The Body Politic can be read as a 'landscape' of a human body - even a slice of it - like an x-ray or other internal views, such as a MRI scan. It could also be read as an multi-perspectival view of a literal landscape. Are you looking into this landscape, almost caught? Or are you above it, looking down upon it, like a remote pilot operating a drone, monitoring successful strikes? Or, are you below it, looking up towards a fiery atmospheric battlefield? Maybe it's a cosmic sky - a future 'scape' of the demise of the sun and the solar system, with the trees representing our scattered star dust - the foibles of human politics now meaningless...?

DATA-PROXY 'BODY POLITIC'
From a technological point of view, the branching appearance of the tree, also mirrors human-made systems, such as computer circuitry. In fact, the tree's branching system is used to 'visualise' flows of data, behavioural patterns and other information. Artificial intelligence systems incorporate what is called 'tree-logic', based on ideas of decision and learning trees. In the age of digital and cyber technology, the 'body politic' extends into realms of technology, where the 'body' is no longer living, but is presented, in subterfuge, as a re-assembled data-proxy. That's another post!

Cheers, 
Kathryn

P.S. Check out this article in The Conversation written by Assoc. Prof Anthony Bourke and Assoc Prof. Stefanie Fishel Politics for the Planet: Why Nature and Wildlife Need Their Own Seats at the UN.


* Selection of other posts where home and environment are mentioned.

Friday, June 30, 2017

AS I FLEW PAST EARTH, I NOTICED EVIDENCE OF DRONES

As I Flew Past Earth, I Noticed Evidence of Drones, Gouache on paper 76 x 56 cm, 2017



In As I Flew Past Earth, I Noticed Evidence of Drones I have imagined being in a spacecraft, or being a speck of star dust, or being some kind of super force flying around the universe. As I pass by planet Earth I notice evidence of drones, their surveillance and targeting signals. How many drones - I cannot tell. 

I also notice signs of life, human and non-human - fragmented, turned upside down, hidden. However, there are also signs of defiance, regeneration, hope.


AERIAL PERSPECTIVE
Regular readers will observe that in this new painting I've taken an aerial perspective, yet again. Indeed, this perspective is evident in most of my work. I like to fly! I also like to think I can take the viewer with me, way beyond Earth, but also perhaps right up close, even inside its crust. This kind of imaginative flying could be a really significant capability in the 'drone age'. As airborne drones loiter in skies, hovering above terrain, scoping with their various surveillance capabilities, our horizons are netted with signals and vertically delivered potential threats. 

PANOPTICON
The airborne drone channels ideas of a panopticon with an intent to observe without being seen. Eighteenth century social theorist Jeremy Bentham proposed a panopticon as an institution designed for inmates, where a single guard could observe prisoners without being seen. That the guard could not be seen meant that prisoners were never sure if someone was observing or how many might be observing. Are we and other living creatures 'inmates' on a planet increasingly surveilled by drones? Should we also think about how satellite infrastructure, currently conscripted to aid communication and environmental awareness for drone operation, is utilised for surveillance and other potentially more lethal purposes? I claim we need to fly beyond our droned skies and beyond orbiting communication and GPS satellites,ie:  way beyond low Earth orbit, geostationary orbit and high Earth orbit, to get some perspective! 

So, if we can 'fly' around the drone and space-based enabling infrastructure then maybe we can subvert the power drone capabilities insidiously deploy. We can, with imagination, turn ourselves into observers with truly full spectrum temporal and spatial agency. 

The trees-of-life in As I Flew Past Earth, I Noticed Evidence of Drones are showing us how - don't you think?

Cheers,
Kathryn  



Thursday, June 22, 2017

THE LEAVES ARE LEAVING

The Leaves Are Leaving gouache on paper 56 x 76 cm 2017


THE WORLD
As masses of people flee their homes, due to war, conflict, drought, famine, poverty and suppression of many kinds, what does it mean for the soul of humanity? Displaced people flee homes in one country to seek refuge in another, some leave homes to live a homeless life in their own countries, and others never find new homes except in camps and settlements for displaced people. Others, die trying to find a new path. 

As the world runs amok people retreat to extreme beliefs, setting up polarisations that neuter balanced political traction, social cohesion and cultural understanding. Retreat to extremes represents another kind of exodus. A kind of exodus that seems to make things worse.

THE LEAVES ARE LEAVING
In the Leaves Are Leaving a mass of people are on the move, their silhouettes atop a hilly horizon. All the people are red. A flame-like swathe of red leaves shoots upwards into a turbulent sky which is dotted with groupings of red dots. I've deliberately painted the people, the leaves and the dots red - because they all represent the same thing - life. 

Regular readers will know that the leaves are from the tree-of-life, a recurrent theme in much of my work. Here, the tree is not portrayed. It has relinquished its leaves, sending them to seek refuge and safety in realms beyond. 

SUN/DRONE AND DUAL USE
The colourful radiating rays peeping through the stormy clouds could be a sun, but regular readers will realise that they could also be the surveillance and targeting signals of an obscured drone. These rays are symbolic of the insidious infiltration of militarised style surveillance that pervades our physical and online lives. That the rays could be a sun or a drone's surveillance signals demonstrates the increasingly blurred lines between civilian and military use of digital and cyber infrastructures and systems. Two days ago I watched a new short documentary produced by Dr. Ian Shaw. The film is called Remote: A Documentary About Drones and Humans and it demonstrates very clearly how militarised surveillance, under the guise of policing and security, has seeped into our everyday lives. Do watch the film!

Cheers,
Kathryn



Friday, June 16, 2017

CAN THE LEAVES STILL DANCE?

Can The leaves Still Dance? gouache on paper 56 x 76 cm 2017

A STORY
When my eldest child was about two and a half we were sitting on our verandah which looked over a creek. This S. E Queensland [Australia] rural setting was complete with grassy fields, cattle grazing and gum trees lining the creek banks. A faint breeze was stirring. My toddler turned to me and said "Look Mummy the leaves are dancing". The leaves were rustling in the breeze and the sharp eyes of a two year old noticed. I will never forget this moment for a number of reasons.

I was thinking about dancing leaves when I painted Can The leaves Still Dance? 

21st CENTURY
In an age where environmental issues plague us and droughts cause mass migrations of people, even if trees have leaves - would people notice them dancing in a breeze? In an age where we are glued to our digital devices, do we look up and around to notice leaves dancing in a breeze? In an age where cities are congested, as we traverse busy streets, sip coffee in trendy cafes and work in interior designed offices do we notice any trees, let alone their dancing leaves? 

In the 21st century, the age of simulation, drones, surveillance and monitoring can we still appreciate leaves dancing as a breeze rustles through a tree's branches? What if we took 'dancing leaves' and a 'breeze' as co-metaphors for life transmitted symbolically in the age-old transcultural/religious tree-of-life? In  Can The leaves Still Dance? I've included references to many trees - trees-of-life - some upright and some upside down. One tree acts as the figures' shadow. It is a shared shadow, the shadow of all humanity - past, present and future. There are 'rivers' of leaves too. Are they fallen leaves now dancing to another life tune? Or, maybe they are escaping? In the background radiating lines appear sun-like. But, could they be the surveillance and targeting signals of a hovering drone?

I'm sure you have stories to tell, thoughts to entertain, memories to remember and dreams to dream - so I'll leave you to think some more about Can The Leaves Still Dance? 

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This is another of my cosmic landscapes. Also, a dronescape. Interesting, though, that country Queensland is still there - launched to other realms of the universe!

Cheers,
Kathryn.
Please follow me on Instagram to see more images of paintings, studio shots etc. 


Thursday, June 08, 2017

SPACE NET

Space Net Gouache on paper 56 x 76 cm 2017



Space Net is related to another recent painting Code Empire  where I have painted Earth [or another planet?] and its moon with strings of binary code. I have not used binary code in Space Net but I was thinking about signals emanating from Earth into space - and signals emanating from space to Earth. 

AERIALS IN SPACE
In Space Net the circle could be Earth, but it could also be another planet, or it could be the centre of a space ship! The triangulated prongs could be signals or some other kind of technical infrastructure, physical or digital, that enables communication, orientation and surveillance. I painted them to look like the huge aerials my father had built beside our house on our grain farm in the middle of the Darling Downs, Queensland, Australia. These aerials facilitated reception and transmission for my father's HAM radio communication signals. In a sense I've uprooted them and sent them into space! Here in Space Net they represent structure, even if it is unseen; the kind of digital and cyber structures that net our skies, that net the space between Earth and satellites orbiting Earth, and in some cases extending beyond. An example of the latter is Voyager 1, now travelling in interstellar space. It still sends signals that NASA can receive. That's actually quite amazing! Something human beings made is now beyond our solar system...

Space Net conjures a few thoughts - if the circle in Earth, something or someone has us covered! The planet is completely connected and surveilled, cloaked in a net of signals that create unseen avenues for power and control, but by who or what? Has the planet been colonised by the forces of the algorithm, the originators lost in time? Or, is this image a spaceship carrying humanity to its next planetary home? If so, is humanity continuing its urge to colonise or is it escaping an unsustainable Earth? 

AIRBORNE MILITARISED DRONES
As regular readers know, over the last 18 months or so, the figure of the militarised airborne drone has entered my paintings. If I don't depict the actual drone, I paint its signals, to expose their presence, to aestheticise them in ways that draw attention to them. These painted 'signals' are symbolic of the increasing persistence of monitoring, surveillance and scoping of life by remotely operated and increasingly autonomous systems. Space Net can also be read as one of my dronescapes, where drones circle the Earth casting surveillance and ever-ready targeting 'nets' across the planet.


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NET - SURVEILLANCE is an earlier post with 2 paintings where I have exposed a drone's signals.

DRONESCAPES     Please check out my designated DRONESCAPES page. 

Cheers,
Kathryn

Thursday, June 01, 2017

COSMIC FIRE - Online Exhibition


 HOT Gouache on paper  56 x 76 cm 2017 


COSMIC FIRE is an online exhibition of a selection of my paintings that refer, either directly or indirectly, to fire. Not any old kind of fire though, and not necessarily real fires. I am thinking about cosmic fire, the kind that precipitates or represents the birth or death of solar systems, the kind that erupts when landscapes change, when volcanoes spill forth a planet's buried entrails. Or, fire as a symbolic warning that human activities can have catastrophic outcomes.

Do we want to stir the dark chasms?

I have selected a few recent works on paper and placed some of them with older paintings. I've done this to demonstrate how some themes continue in an artist's practice, albeit often not in direct ways.

INFLUENCES
Recent paintings have been influenced by my research into militarised technology. Older work that was influenced by my interest in cosmology resonate with my recent cosmic landscapes - often harbouring loitering airborne weaponised drones The tree-of-life is a common element in many of the paintings. It streams hope. Ultimately, my interest in cosmology has extended an interest in another theme, that of perspective, both literal and metaphoric. My influences are woven through my paintings and over time a fabric of images has emerged.


PRICES
If you are interested in buying please contact me through the "Contact Form" upper right of this post.

And, if you are interested in my dronescapes please visit DRONESCAPES


DARK CHASMS


Stirring the Dark Chasm Gouache on paper 56 x 76 cm 2017


Perpetual Beginning Oil on linen 80 x 120 cm 2011


Firmament Gouache on paper 30 x 42 cm [51 x 62 cm framed] 2011


ANTHROPOCENE


 Anthropocene Gouache and watercolour on paper 56 x 76 cm 2017. 


 Cosmic Testimony Gouache and watercolour on paper 56 x 76 cm 2017


Planet $ Oil on linen 30 x 30 cm 2011


BIRTH AND DEATH OF WORLDS


 Star Blood Gouache on paper 56 x 76 cm 2017


Greener Pastures Oil on linen 50 x 50 cm 2014


Birth of Landscape oil on linen 138 x 168 cm 2014

FIRE AND FLOOD 


                            Fire and Flood: Extremus Gouache on paper 56 x 76 cm 2017 NFS


Storm Oil on linen 85 x 150 cm 2012


SECRETS

I've 'curated' Secrets as the last painting because, whilst not directly referencing fire, it contains some hopeful ideas - but it depends on how you read it.


Secrets Gouache and watercolour on paper 56 x 76 cm 2017


Cheers,
Kathryn