Sunday, August 11, 2019

PAINTING, MUSIC, POETRY AND DRONES

Sky - Drone - Net Gouache on paper 30 x 42 cm [unframed] 2016


MUSIC and DRONES
I had a lovely surprise recently. Out of the blue, author and songwriter, Mary Amato, contacted me. Mary creates music inspired by STEM - Science, Technology, Engineering and Math. Her music puts an A into STEM = STEAM!

Anyway, she had composed music and lyrics for a piece that deals with drones. The piece is called Drone's Love Song 

And, my painting Sky - Drone - Net is now Drone's Love Song's image!

You can listen to Drone's Love Song HERE or below.

Keep an ear out for words like - bombing, spying, dirty work, remote and more. The lilting sounds of instruments and Mary's voice seem to initially belie the darkness contained in the music and lyrics. This, I think, connects with the aesthetic appeal of my work, which also seems to initially belie darkness. But, these initial reactions to listening and seeing are shattered as contemplation draws the listener and the viewer in. This shattering opens up an array of other reactions and thoughts - deepening the experience - provoking questions.






POETRY and DRONES
I was recently given a book of poems by an Australian poet called A. Frances Johnson. The anthology is called Rendition for Harp & Kalashnikov Johnson addresses a range of issues, including contemporary war.

If you love poetry - if you are interested in how the arts can critique contemporary war and accelerating militarised technologies - if you are particularly concerned about issues associated with weaponisable drones - Rendition for Harp & Kalshnikov is a must!

There are a number of poems that directly refer to drones and the various issues associated with surveillance and the remote deliverance of death. The poems are beautiful and sad, empathetic and cutting.

One poem called, Unmanned Aerial Vehicle Versus Poem, positions poetry not necessarily as a winner of a competition, but as something that enables much more that a UAV - therefore - there is no competition. My prosaic words do not do justice to the incisive brilliance of this poem, but what I am trying to say is that this poem tells us something about the power of poetry. In doing so it tells us something about the power of art.

You will have to buy the anthology!

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FORTHCOMING EXHIBITION

And, please visit OCCUPIED LANDSCAPES: EVIDENCE OF DRONES to keep up to date with all the details for my forthcoming exhibition Occupied Landscapes: Evidence of Drones!


The New Clouds Gouache on paper 56 x 76 cm 2017

Cheers,
Kathryn

Saturday, August 03, 2019

PAINTINGS IN CONVERSATION & 13 YEARS BLOGGING

Beware the Shadow Oil on linen 30 x 30 cm 2018


Look Again At That Dot Oil on linen 23 x 29.5 cm 2018


13 YEAR BLOGGING 
This month is my thirteenth blogging anniversary! I have, mostly, posted once a week for thirteen years. Yes, my middle name is PERSISTENCE! 

I really enjoy blogging. It has become very much part of my creative practice. As I write I think through things differently, and new ideas are triggered. These new ideas become paintings, and the cycle continues. 

Thank-you to my readers and anyone who passes by, even momentarily.


PAINTINGS IN CONVERSATION 
As I gear up for my forthcoming exhibition Occupied Landscapes: Evidence of Drones   I am thinking about how I might hang the paintings in the show. I will be including some paintings that do not depict airborne militarised drones or indications of their presence. This is a deliberate curatorial decision. It provides another layer to the visual conversation the paintings have with each other, as well as the conversation a viewer has with the exhibition. Given that the title of the exhibition includes the word 'evidence' I want people to look for evidence of drones in paintings that do not depict drones or indications of their presence. What they see or not see, is not up to me. 

When a painting without a drone is hung near a painting that does depict a drone, what do you think happens? For example the two paintings above are in 'conversation'. Look Again At That Dot does not depict a drone, whereas Beware the Shadow depicts two drones. 

What happens when you place a painting that depicts both the pale blue dot and drones? For example, Drone Spiral (No 2) below.

I am really looking forward to hanging  Occupied Landscapes: Evidence of Drones  
Tuesday 27 August - Saturday 7 September Open daily 10 am - 4 pm
POP Gallery, 381 Brunswick St, Fortitude Valley, Brisbane, Australia.
For more details please check out the exhibition page HERE


Drone Spiral (No 2) Oil on linen 120 x 160 cm 2018



NEWS
I have two paintings on loan at the Australian Institute of Biotechnology and Nanotechnology  (AIBN) at the University of Queensland, Australia. 

Last Monday I gave a short presentation to the AIBN Board and academics. It was a fun event.  I thoroughly enjoyed the incredibly stimulating conversations I shared with researchers working at the cutting edge of their various fields.

The two paintings Beginning of Everything and Objects (both below) are great works to have hanging in a research institution focused on biotechnology and nanotechnology. Why? Because, both paintings can be 'read' as either something very large or something very small. For example Beginning of Everything could be a vast landscape formed by the cascading tree-of-life erupting from the bottom left corner. Or, it could be a cross-section of something seen under a microscope. The painting plays with perspective - are you above a vast land form, or below some kind of portal enticing you into another universe, or are you witnessing the beginning of the universe? There are many possibilities - that's why I called it Beginning of Everything. Objects can also be 'read' in a multiple of ways. Are the round balls atoms or planets? Are you above, below or with them? 



Beginning of Everything Oil on linen 90 x 180 cm 2010


Objects Oil on linen 85 x 147 cm 2015


Cheers,
Kathryn