AUSTRALIAN LANDSCAPE: A METAPHOR

Australian Landscape - A Metaphor Oil on linen 61 x 66 cm 2021

As I write this the world is in the grip of the COVID19 pandemic. Mutations of the virus pose further threats. In Australia slow vaccine roll outs have placed our population in a vulnerable position. Despite having time, due to quite good pandemic management in 2020, authorities failed to secure enough vaccines, plan for distribution, formulate public education activities, foresee virus mutations as a threat and resolve weaknesses in quarantine arrangements. 

IMAGINATION

The lack of imagination in our political class [around the world] demonstrates diminished capacities to learn from history [even recent histories], to understand a globalised world, and to adopt a sophisticated mix of science and social science-based responses to the pandemic. A lack of imagination reveals poor capacities of simultaneously accounting for macro and micro concerns.

What if circumstance get out of hand as people become more frustrated and actions are increasingly politicised? Will violence and oppressive responses occur? As people lose faith, for whatever reason, in political leadership, will social unrest escalate?

ART HISTORY

As an Art Historian I can tell you there is plenty of visual evidence, over centuries, that sickness, plague and pandemic + revolution, anarchy and general social unrest are horrific, and often entwined. Art History shows the horrors of death, sickness, destruction, fear, hatred, hubris, ego, inequality, hunger and hopelessness. I argue that all politicians, policy advisors and really, just everyone, needs to learn some Art History! It might compensate for a lack of imagination....

There's a few grim images of pandemic for you to see in The Black death: Europe's Deadliest Pandemic in Human History

ANXIETIES
As I write this Australia and Australians are also experiencing anxieties about:

• Political resistance to climate change mitigation, in some instances a growing disconnect between  electorates and their political representatives. 
• Allegations of war crimes by some Special Forces operating in Afghanistan. 
• How our political class is handling our relationship with China. 
• Financial insecurity during the pandemic and post-pandemic.
• The US - Australia alliance.
• War talk.
• You can add to the list here!

Australian Landscape - A Metaphor 
After reading all of the above I will let you interpret this new painting! 

If you are a regular reader you will note the tree-of-life and the geolocation grid superimposed on the landscape.

Cheers,

Kathryn

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!

UPDATE NOVEMBER 2017

My thesis was examined with in two weeks of submission, with no requests for changes and no corrections! And, I have been awarded a Honorary Fellowship in the School of Communications and Arts, University of Queensland. One of the examiners strongly encouraged me to write a book, so this is something I am pursuing during my Fellowship. 

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 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

ART SCIENCE TECHNOLOGY

 On The Edge Gouache on paper 34.5 x 53.5 cm 2001

 

 

HAPPENINGS
Last week I attended a very interesting and stimulating symposium in Melbourne, hosted by Deakin University. The title for the symposium was Unruly Techniques: Linking Knowledge Practices Through Art, Science and Technology.

Also, last weekend, I visited the National Gallery of Victoria's fabulous exhibition Masterpieces From The Hermitage: The Legacy Of Catherine The Great

AND

On Sunday, here in Brisbane, I attended Neil deGrasse Tyson's amazing presentation where he discussed a range of cosmic, intellectual and social topics.

 Neil deGrasse Tyson event in Brisbane August 16 2015. Hosted by THINK INC

So, I had an array of stimulating experiences within a few days. Always a great thing! But, given my interests in art, science and technology, I come away from these experiences with some clearer thoughts and perspectives.

But, some background first.

WERTHEIM SISTERS
Brisbane born [!] twin sisters Margaret Wertheim and Christine Wertheim both made keynote presentations at the Unruly Techniques symposium. Margaret has studied physics and mathematics and is a well known science writer. Christine is a writer, performer and artist who teaches at the California Institute For The Arts in LA. Christine's keynote Pata-Critics: The Art and Science Of Imaginary Solutions was fascinating and will be discussed in another post. Both women live in Los Angeles and are co-founders of the not-for-profit The Institute For Figuring .

CROCHET CORAL REEF PROJECT
Margaret and Christine Wertheim are also the instigators of a most wonderful project ie: The Crochet Coral Reef Project which the website describes as The Crochet Coral Reef is a woolly celebration of the intersection of higher geometry and feminine handicraft, and a testimony to the disappearing wonders of the marine world. It is one of the largest community arts/science projects in the world with around 8,000 people contributing.  I first heard of the project a number of years ago and was intrigued by its hyperbolic math inspiration, as well as the use of handicraft to explain/visualise a difficult concept. The project's intersection with hyperbolic maths is explained HERE. Subtexts include environmental issues as well as disruptive perceptions of a traditional feminine handicraft
pursuit.

Seeking Perspective Oil on linen 92 x 102 cm

I've uploaded this painting because many people who saw it at my recent exhibition CODE commented on it being like coral. This description if often given when my tree-of-life cascades across the painting.

CREATIVITY
Margaret Wertheim made some interesting statements and observations that are dear to my heart. I was thrilled that she clearly articulated them and to such an audience. Early in her presentation...remembering this is at a art, science and technology symposium... she quite forcefully stated that science does not need to have creativity added to it...because it is already intrinsically creative!

And, towards the end of her presentation she made a comment about the crochet hook being a piece of technology - a handicraft technology. She made a plea for the arts to not think of legitimate technology, for enabling creative expression, as only being the kind you plug in, a computer etc. She cleverly and humorously described our fingers as creating digitised work!


SO - Some thoughts-observations:


SCIENCE MORE CREATIVE THAN THE ARTS?
After listening to Neil deGrasse Tyson and thinking about all the other science events, books, Youtube videos etc I've read/watched/attended - something occurred to me. I actually think that science generally is currently much more exciting, innovative, flexible and creative than the arts [generally] currently are! I agree with Margaret Wertheim - science does not need to have creativity added, even bestowed, upon it by the arts or artists or anything else.

Indeed, maybe it's the arts that needs self-examination, to become more dynamic, reach beyond the tight boundaries of the market and go searching for its creative playfulness...to restore a kind of inspirational capacity that contemporary science is stirring.

The so-called art/science nexus, I believe is not about one being good for the other or appropriating aspects of the other, but more about each pursuit maintaining a confident integrity. Science, I suspect is more confident than the arts, which in some areas seems to be needy of science's approval. If there's to be cross inspiration I suggest it comes from a confidence that exudes, not only academic and intellectual rigour, but also playfulness....and all that it encompasses.

PLAYFULNESS
DeGrasse Tyson made a comment that struck me as significant. He said that by being a scientist he could stay a child ie: keep the wonder, play with ideas, imagine the seemingly impossible, have fun. I don't detect a lot of fun in the arts, particularly the visual arts, these days! Perhaps the arts, somehow, disallows the inner child, quelling the kind playfulness that pushes boundaries at the same time as inspiring. Maybe artists need to also feel happy to declare, I love being an artist because it means I can hold onto and love my inner child?

[Christine Wertheim's Unruly Techniques symposium presentation on pataphysics - the fictional in science as distinct from science fiction - gave clues for art's...playful...re-invigoration.]

Tree-of-Life Time Travelling Oil on linen 85 x 150 cm

 

THE RISE OF THE INTELLIGENT GEEK SCIENCE CELEBRITY!
The Neil deGrasse Tyson Brisbane event attracted 2,500 people. He received a standing ovation from the entire audience. The rise of the intelligent-geek-science-'celebrity' is refreshing and illustrates the public's desire to be informed and inspired. People like deGrasse Tyson will help spread scientific literacy, thus leading to increasing public understanding, and informed critique, of 21st century issues. Politicians, policy makers and educators...take note!

Here's me at the Neil Degrasse Tyson even in Brisbane. I got there early - keen!

 

 

OLD AND NEW TECHNOLOGIES
Margaret Wertheim's comment about the crochet hook being a technological tool, is exactly how I have thought about the paint brush and paint. They are technologies - yes, old and traditional - but given they have been around, in some form or another, for 40,000 years I suggest there must be something about brush and paint that is important ...something about us being human. New technologies offer amazing possibilities for everyone including scientists and artists, but they belong to a pantheon of tools that include seemingly simple ones too.

A full and diverse tool-kit reflects sophistication...don't you think? Indeed, it's much more fun if you have lots of things to play with!

And, now to...

CATHERINE THE GREAT
The Masterpieces From The Hermitage exhibition. This exhibition illustrates Catherine The Great's dexterous ability to govern, learn and see the potential in cultural activity, expression and acquisition. The art in the exhibition provides many examples of visual language, that an audience of the time could decipher to gain meaning and knowledge, both explicit and implied.

 A didactic that gives some idea of Catherine The Great's expansive thinking - from the NGV's Masterpieces From The Hermitage exhibition

 

 

Cheers,

Kathryn

www.kathrynbrimblecombe-fox.com

THE BLANK CANVAS

ART HISTORY

In 2001 I became a University of Queensland student again. I had been given an opportunity to undertake a PhD in Art History. The Art History Dept had put together a bridging program for me. This included an Honours subject 'Aesthetics For Art Historians- Theory And Practice In Art History'. Yep, hefty title!

I completed the bridging program and did very well too I might add. But, I decided I wanted to keep painting. It had become very clear to me that trying to juggle being a single Mum with three very active children under 8, studying with an aim to claim top marks and keep a painting practice alive, was not going to work. So, rather than giving up my painting, I decided to not continue with the PhD enrolment.

One of the assessments for the honours subject was a 3,000 word essay on 'The Blank Canvas'. Essentially we were to examine Belgian scholar Thierry De Duve's essay/chapter 'The Monochrome and The blank Canvas' in his book 'Kant After Duchamp' with reference to an exhibition which was hanging at the University's Art Museum. This exhibition called 'Monochrome' was curated by Brisbane based curator David Pestorius.

Apart from the academic and theoretical aspects of the essay, as an artist I really enjoyed thinking about the blank canvas. This enjoyment has stayed with me. Why? Because the academic and theoretical route made me aware of my enjoyment, which is both intellectual and emotional! Some might say that this awareness may stymie spontaneity, but when you paint consistently, it becomes part of a creative tool kit that extends concepts of medium. It also introduces the idea that each blank canvas is a repetition of every blank canvas and each artist's experience with it. This couches me within an Art History which is about the artist's experience.


DELIVERY OF BLANK CANVASES

Yesterday, I had a delivery of some new stretched linen canvases. I have taken a photograph of them [above]. From the moment I order them I am thinking about them, imagining their size and how they might 'speak' to me. I look forward to their arrival. These new ones will sit around my studio, in various places, over the next days and weeks. I am currently working on a painting, so will not get to put paint on the new stretchers for awhile. Yet, as I stand and sit at, and walk back and forth from,  my easel I see the 'blank canvases' and my imagination 'paints' images on them...actually each one has many images over its life being deceptively 'blank'.

Ah ha...so are the canvases ever really 'blank'? Is there really an answer to that question?

By the time I do put brush to linen a canvas has had many incarnations...many imagined paintings. In a way, the imagined images inspire the one which is ultimately manifested...they exist within the layers of memory.

And...can I tell you...that first brush stroke! Making it is like a play between life and death. The anticipation is both exciting and forbidding. The beauty of the pristine and taut whiteness is quite seductive. So making a mark upon it is touched with an exhilarating melancholy. I know, sounds weird, but it's hard to put into words.

 Detail of painting I am currently working on...yep another cosmic one!

TECHNIQUE

As regular readers know I paint in layers. Firstly one colour which is tempered with splashes of turps with the canvas either lying flat or standing upright. The splashes of turps cause dripping or pooling which reveals the whiteness of the canvas beneath the colour, yet not entirely. The whiteness is veiled. Then there is a second layer, treated in a similar fashion to the first. Randomness and accident, deliberately introduced, have fun with the canvas. Once dry, I paint with more precision, using smaller brushes, finer lines and more. Ultimately the blankness and whiteness of the canvas is seemingly annihilated. Yet, we know what lies underneath. It never truly departs. It's own history and that of every blank canvas lives on.

Some artists leave areas of white or blank canvas, working the visual effect into the context of the painting. I really admire this technique, but it's something I don't do. I've tried, but it does not feel right for me. And, I am not into mimicry.


MONET

I remember seeing Monet paintings, in the flesh, for the first time. I was surprised because often, between his brush strokes the viewer can glimpse the 'blank' canvas. My Art History, up until my late teens/early twenties, came from books with photographs of important artists' paintings. And, photographs of paintings flatten images subduing aliveness, giving a strange impression of perfection. So, it was with some astonishment that I noticed glimpses of raw or white canvas between brushstrokes, not only in Monet's work, but also artists like Constable and others. In the flesh, they are so much more alive than in a photograph...I do say to people that a good painting will never look as good as it really is in a photograph, but a bad painting will, more often than not, look much better than it is! Now, that's another subject entirely!

Me standing in front of a Monet 'Water Lilly' painting when I was working as a Curatorial Assistant at the National Gallery of Australia, Canberra, 1981.

STANTHORPE ART PRIZE UPDATE

I went to Stanthorpe on Friday for the opening and announcement of the $20,000 Art Award. Stanthorpe is a 3 hour drive south-west of Brisbane. I stayed the night with a school friend who I had not seen for ages.

The exhibition of finalist paintings and some 3D works is really good. I am pleased to have been chosen to be a part of the exhibition. My painting 'Super Earths Discovered' hangs with some great company. However, I did not win the prize. An artist from down south, Dena Kahan won...and a big congratulations to her! You can see details of the exhibition, the Stanthorpe Arts Festival and an image of Dena's winning work by visiting the Arts Festival page HERE

And here's an article which appeared in the local Stanthorpe Border Post

And here's a photo of me with my painting 'Super Earths Discovered'

Cheers,
Kathryn
www.kathrynbrimblecombe-fox.com