QUEENSLAND LANDSCAPE (UNREAL)

Queensland Landscape (Unreal) Oil on linen 50 x 90 cm 2017

NEWS

On Friday I graduated with a Master of Philosophy (M. Phil) from the University of Queensland. It was a very exciting and fulfilling day. There are a couple of photos below. 

My thesis title was Drones and Night Vision: Militarised Technology in Paintings by George Gittoes and Jon Cattapan. 

Many thanks to my rigorous and wonderful supervisors, Dr. Fiona Nicoll [before she left for Alberta Uni], Dr.Amelia Barikin and Dr. Paolo Magagnoli. The two external examiner reports were returned within two weeks of thesis submission with no requests for corrections or changes. But, with a topic that involved research into the paintings and practices of such thought provoking artists as Gittoes and Cattapan, AND research into drones, autonomous weapons and ubiquitous surveillance, how could anyone lose interest!

I deliberately chose to undertake cross-disciplinary research because, at the end of the day, I wanted the research to trigger inspirations for my own creative practice. The research into militarised technology came from my longer term interest in existential risk posed by emerging technologies. But, especially for an M. Phil, I had to narrow the topic down. I am really happy with how my focus on the legal, ethical, cultural and technical aspects of airborne weaponisable drones, ubiquitous surveillance and burgeoning developments in autonomous weapon systems has provided informed inspiration for my recent paintings. So, onto the next stage....lots of painting and a possible book, based on my thesis.

At the University of Queensland, St. Lucia campus.

At the University of Queensland, St. Lucia campus. In the Great Court.

QUEENSLAND LANDSCAPE (UNREAL)

Queensland Landscape (Unreal) (top) is spoof-ish. It is a landscape, but is it a real one? Or is it an unreal one?

It was inspired by my rural Queensland childhood landscape. To the East of our farm, in the middle of flat treeless Pirrinuan Plain, the Bunya Mountain range cut a majestic silhouette against the seemingly endless sky. Thus, the mountain silhouette in Queensland Landscape (Unreal) could be the Bunya Mountains, which is, in fact, part of the Great Dividing Range that runs down the East coast of Australia. 

But, the orange-red background and the almost fluorescent green appear unnatural. Is the  image a simulation, a fake environment? But, I have painted it - it is not a digitally produced simulation. Can a painting be a simulation in the 21st cyber-century? Can a painting, be a simulation of a simulation, a double entendre play with mimicry without algorithmic assistance? 

I have painted landscapes for decades. So, with a long history of painting landscapes, is  Queensland Landscape (Unreal) an amalgam of many images, if not all? Here, I take a different turn and ponder how generative software is capable of producing many design iterations from provided parameters and sources. Also, bots [internet robots] that can generate fake news, images and online engagement, because they can access mind blowing amounts of data to use, manipulate and appropriate. But, is this similar to engaging memory for the creation of an image? Queensland Landscape (Unreal) speaks to the way my memories, perhaps a source of data and parameters, have created a landscape that could be real and unreal. I lived with the Bunya Mountain silhouette until early adulthood. My childhood landscape of flat treeless plains, distant mountains and huge skies, is part of who I am. In my 20s and 30s I lived in another rural Queensland landscape, further west, beyond my childhood home. There were more trees, a few hills, but massive skies and hazy flat horizons still dominated.

But, to say my memories are data, reduces the impact of how those memories are formed and indeed remembered. I say this because it is not just about me 'downloading' visual memories. It is also about feelings, reminders of heat and dust in Summer, and frost and cold winds in Winter. It's about storm clouds rolling in, and heavy rain obscuring landscape features. Its about my parents ricocheting from worry about no rain, to worries about destructive floods. It's about memories of playing in mud, or watching snakes disappear into cracks when the black soil was starved of moisture. It's about my two younger brothers and I walking out to the main road to catch the school bus. We walked easterly towards the Bunya Mountains. Sometimes we talked, sometimes were fought! It's about the big boys on the bus shouting things out the window to me as I ran to catch the bus - I was often late. It's about going up to the Bunya Mountains for family picnics. We relished the lush green, the rainforest, the waterfall  and the different animals and birds. We were aware of the important Aboriginal connection to the Bunya Mountains. We knew it was a very significant meeting place for Aboriginal people and respected that.    

Queensland Landscape (Unreal) encapsulates all my memories and much more, some I may not be even aware of. It holds secrets behind its spoof of computer generated, bot manipulated unreal-ness. Maybe it is a cosmic landscape - regular readers will know where that idea comes from!

Me with my parents-on a tractor-the Pirrinuan Plain, Darling Downs, Queensland, Australia. 

Early 1960s.

Me in 2014 on a visit to my childhood landscape. I am positioned against the western horizon. In the opposite direction the Bunya Mountains cut their majestic silhouette against, as you can see, the endless sky. 

Cheers,

Kathryn

UN-FRAMING LANDSCAPE

Un-framing Landscape Crayon on paper [preliminary sketch]

 

 

As I mentioned in a previous recent post, I have returned to University study. I have embarked on an M. Phil [Research] at the University of Queensland. Happily, I can report that I am thoroughly enjoying being immersed in thinking and reading. I am also thrilled to be able to attend many of the fascinating talks and seminars that seem to happen every day at UQ. Yes, I am a bit of a geek...nerd...

 

Yesterday I attended an artists' talk, hosted by the University of Queensland Art Museum [UQAM], held in conjunction with a current exhibition Light Play: Ideas, Optics and Atmosphere , curated by Samantha Littley. The artists' talk included the curator as facilitator and artists Sam Cranstoun [multi-media artist] and photographers Carl Warner and Marian Drew. Dr. Margaret Wegener a lecturer in Physics at UQ was also part of the panel.

 

Many really interesting topics, relating to light and in reference to the artists' works, were discussed. However, my ears pricked up when there was a short discussion on how photographers and painters might frame a landscape. By frame, I mean compose or choose the image parameters with and wthin known elements. I cannot remember the details of the entire discussion, because my imagination went off into thoughts about how I un-frame landscape in my own work and how doing this unleashes it from earth-bound horizons.

 

When  I got back to my desk, after the artists' talk, I drew this sketch [above] Un-framing the Landscape. My plan is to sketch while I study and research. These sketches will lay the foundations for my next exhibition, which will probably be sometime in 2017.

 

As regular readers know, I think a lot about what landscape is, and means to us, in an age where cosmology traverses the close and far distances of the Universe, where astronomy seems to be regularly finding potential new Earth-like planets orbiting distant stars, where exploratory spacecraft take photographs of planets and moons, where virtual worlds proliferate, where humankind's presence leaves debris in space...and so on.

 

 

 

It Beckons Gouache on paper 15 x 21 cm 2015

 

 

Birth of Worlds Oil on linen 92 x 102 cm 2014

 

 

Given that I consciously attempt to untether ideas of landscape from Earth-bound horizons - to take landscape into the cosmos - I suggest that my un-framing is about extending parameters beyond the known, beyond safe horizons. In other words, the known can no longer act as a frame. Yet, extension beyond Earth's horizons does not necessarily mean there is a re-frame - after all the Universe is a big space/place where the unknown surpasses the known.

 

In my cosmic landscapes I try to re-negotiate landscape in a way that entices the viewer to think about what is beyond the literal edges of my canvases - to wonder. I also try to stir perception by playing with perspective and orientation - a kind of flipping of familiarity.

 

 

 

It's Everything Oil on linen 50 x 50 cm 2015

 

 

Here are a couple of other posts where I discuss landscape:

 

From Blank Canvasses To Untethered Landscapes

That Word: Landscape

 

Cheers,

Kathryn

www.kathrynbrimblecombe-fox.com

 

 

 

 

 

9 YEARS BLOGGING - ANNIVERSARY POST

It's Everything Oil on linen 50 x 50 cm

It's nearly the end of August and I suddenly realised that I was almost about to miss my Blog's 9th anniversary. I started this Blog in August 2006, never imagining that it would become such an intrinsic aspect of my work as an artist. Some un-imagined outcomes are:

• The act of regularly writing has helped shape and sharpen my ideas.
• The act of writing stirs new ideas too.
• By posting once a week I have a kind of visual diary of my thoughts, paintings and influences.
• Undertaking regular research about my influences and inspirations has broadened my ideas, but it has also been immensely intellectually satisfying.
• Late last year I was invited by the State Library of Queensland to have my Blog archived in perpetuity on PANDORA, Australia's national archive of online sites of significance and ongoing research value. This was totally unexpected, but a delightful acknowledgement for me!
• The ability to link posts etc to social media sites helps broaden my audience.
• A dynamic Blog is also a wonderful way to easily promote my work to all kinds of people - buyers, curators, writers, galleries etc.
• The regular writing has, I think anyway, helped improve my writing. This is a good [actually excellent!] thing because I am about to embark on a Research Higher Degree, a Master of Philosophy, at the University of Queensland, Australia. A thesis is a lot of writing!

One thing I never imagined in 2006, when I attended the artists' PR and Marketing seminar that set me on the blogging path, was that I would ever be invited to give a presentation on Blogging. BUT, this happened a couple of weeks ago! And, it went exceptionally well too. That early 2006 seminar was held at Metro Arts, Brisbane.

Here's a link to my Blog's 8th anniversary post. The most popular post in 2014 is still the most popular one in 2015...and...it is Cosmic Ouroboros

Cosmic Ouroboros oil on linen 120 x 150 cm 2012

 

 

 

One thing that is new in the last year is that I am now on
INSTAGRAM

@kathrynbrimblecombefox

 

 

Below is a screen shot of my INSTAGRAM profile/page

Please follow me!

And, here's another screen shot. It's of one of my other online presences - my website 'gallery' for CODE  - my 2015 solo exhibition

NEWS

 

I have again been invited to participate in the

Tattersall's Landscape $30,000 Art Award

 

and

 

I am delivering the painting tomorrow.

Judging and opening is next week.

 

FINGERS CROSSED!

 

Below is a photo of my Tattersall's Art Prize entry all packed up and ready for delivery.

I've entered Life Calling Anyone There?

 

 

 

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

TOOL KIT

In the sand dunes outside Abu Dhabi 2005 

My solo exhibition was held at the Abu Dhabi Cultural Foundation in December 2005

 

 

What do I mean by TOOL KIT? If you're a regular reader you will know I don't necessarily mean it as a literal tool kit, like the one a builder might have. My 'tool kit' still 'builds' though.

 

A SPEECH AT THE UNIVERSITY OF QUEENSLAND

I was reminded of my thoughts about a metaphoric 'tool kit' when I listened to the recording of the speech I made, as guest speaker, at the University Of Queensland's 2008 graduation ceremony for the Faculties of Arts, and Social and Behavioural Sciences. I chose the topic of 'Perspective' and alluded to the idea that an academic education is one tool, an important one, in the 'tool kit' for life.

 

I very firmly 'wore' my 'artist's hat' for the speech, suggesting that many of the attributes artists employ to create their work are important for everyone. I used various aspects of perspective as a way of illustrating this. Towards the end of the speech I suggest that an education is like a brush stroke on a canvas...that as time goes by a picture of a life emerges. But, like an artist we can move back and forth from the 'canvas' of life to gain new perspectives...and the possibility of new directions.

 

You can listen to my speech at this link:

http://omc.uq.edu.au/audio/graduation08/KBrimblecombeFox_160708.mp3

 

I recently wrote a post about PUTTING ON A SHOW It's an insight into the plethora of things an artist needs to think about when 'putting on a show' ie: an exhibition. It explains some of the more practical 'tools' in my 'kit'!

 

 

SELECTED PAST PERSPECTIVE POSTS:

 

ART, PERSPECTIVE AND POLITICS

A NOT SO IMPOSSIBLE DREAM: A SHORT STORY ABOUT EARTH AND THE UNIVERSE

AN ALTERNATIVE TO PERSPECTIVE

PERSPECTIVE DISTANCE

 

 

 

That's Life Oil on linen 55 x 80 cm 2006

 

UNIVERSITY OF QUEENSLAND SENATE ELECTIONS

 

So, while I am on the topic of the University of Queensland...I have been nominated for one of the three graduate positions on the University of Queensland Senate.

 

The election period is Tuesday 8 October - 9 am Monday 21 October.

 

Voting will be via an online ballot only.
 

Click HERE to view all nominations, plus access links to the ballot page. If you are a graduate of UQ you are eligible to vote for graduate representation. However, you will need your student number...I know...not something you keep in the forefront of your memory. But, all is not lost, you can ring or email the Elections Officer and she will retrieve your student number. [Ms Tina Ferguson, Elections Officer on  61 (07) 3365 3360 or at uqelections@uq.edu.au] If you email her please provide your name [graduating name], birth date and preferred email address.

 

Needless to say, I'd be delighted if you would vote for me please. I am keen to be part of the University's ongoing quest for rigour and excellence, especially in the fast paced life of the 21st century. I'd definitely employ the powers of 'perspective' I've gained over many years... and learn new ones too.

 

BRIEF UQ HISTORY

1980 B.A. [Double major Art History]

2001 Successfully completed a bridging course to enable entry, by invitation, into a PhD [Art History]. I decided not undertake the PhD because I wanted to concentrate on my visual art practice.

A full CV can be viewed HERE

 

 

_____________________________________________________________________

 



 

COSMIC ADDRESS: Earth Maybe Our Home, But The Universe Is Our Environment

 

Tuesday 15 - Sunday 27 October

 

Cosmic Address Oil on linen 90 x 180 cm 2013

 

My next solo exhibition is just around the corner.

 

The gallery's 'cosmic address' is:

Graydon Gallery,

29 Merthyr Rd,

New Farm,

Brisbane,

Queensland,

Australia,

Earth,

Milky Way,

The Universe/Multiverse/21st Century.

 

EXHIBITION DATES: Tuesday 15 - Sunday 27 October.

Open daily 10 am - 6 pm or by appointment

 

All the details, artist's statement, events and images can be viewed on my

COSMIC ADDRESS PAGE

 

All the paintings, prices etc can be viewed HERE

 

 

My last BLOG post COUNT DOWN was a playful ramble about the 'count down' to COSMIC ADDRESS...

-Playing with ideas stimulated by the recent discovery by physicists of the amplituhedron.

-Plus Prof Nick Bostrom's theories on post-humans manipulating us via computer simulations.

-Plus a short reflection on Jean Baudrillard.

All this 'play' posing questions about whether a count down and a cosmic address are possible or not!

 

 

Cheers,

Kathryn

www.kathrynbrimblecombe-fox.com

SCIART AND MORE!

                                DETAIL of new painting...still to be finished Time Travel

This post is going to be a newsy one. Lots to tell.

SYMBIARTIC
SCIENTIFIC AMERICA'S ART-SCIENCE BLOG

I am very excited about this...one of my paintings Earth's Pulse, which I uploaded in my last post Six Years-Celebration, has been featured on Scientific America's Art/Science Blog Symbiartic.

They are featuring an artwork per day for the month of September...and mine is the first! Click HERE to see it. And, please Facebook 'Like' it or Tweet it or other....!

While you in the Art/Science mindset...check out Symbiartic's two bloggers' sites:
Glendon Mellow's The Flying Trilobite
Kalliopi Monoyios Scientific Communications and Consulting

AND Again with a Art/Science mindset please make sure you read about Brisbane artist Joannah Underhill's amazing experience as artist in residence at the University of Queensland Institute of Molecular Biology...please check out my note below!


NEW GALLERIES ON MY WEBSITE

I have created a couple of new 'galleries' on my website.
One is Adam and Eve...And That Tree  and the other is Cosmology

Adam and Eve...And That Tree exhibits five paintings that directly reference the story, shared by the three Abrahamaic religions, of Adam and Eve.

                                    In The Garden of Eden Oil on linen 50 x 94 cm


Cosmology exhibits a selection of my paintings where I explore the close and far distances between the quantum and cosmic.

Ad Infinitum? Oil on linen 50 x 50 cm

 

ARTICLE IN HIGHLIFE DOWNS LIVING

Highlife Downs Living  has featured an article about me and my work in their new Spring Edition. The terrific photographs were taken by Gillian Van Niekerk from VannPhotography. Also check out Highlife Downs Living Facebook page, where their profile banner [see image below taken by Gillian Van Niekerk] is a close up image of one of my paintings, Radiance. The magazine is published quarterly and features news from the Darling Downs region. Check out their 'About' page.

Now, I know I do not live on the Downs any more, but I am a Downs girl having grown up on my parent's grain farm outside Dalby...and then, after marrying, spending eighteen years living in Goondiwindi. The girl might leave the country...BUT the country never leaves the girl!

From High Life Downs Living - Photo taken by Gillian Van Niekerk-

Detail Radiance oil on linen 92 x 208 cm

TATTERSALL'S LANDSCAPE ART AWARD

I delivered my entry on Friday in readiness for judging this coming week, and the opening  of the exhibition and prize announcements, on Wednesday 5th September. The Tattersall's landscape Award is an invitation award, so I am very happy to have been asked again this year.

Regular readers will know of my thoughts about untethering landscape from Earth, so that we are free to take different perspectives, even simultaneously. In an age where research burrows into vast quantum worlds and intimate cosmic places, focusing on an Earth-bound idea of landscape may mean we miss something, individually and collectively!

So, my entry is not an Earth bound landscape, but it could be of the Earth, but then again it could be a Universe... or a spec of dust. Shall keep you posted!


NINDOOINBAH WOOLSHED EXHIBITION

I went to the cocktail party opening of the Nindooinbah Woolshed exhibiton last night. AND, what a fabulous party it was. The exhibition of ten artists, including me, looked fabulous in the old, but restored woolshed. The shed looked like a medieval banqueting hall, with fairy lights highlighting rafters and a magnificent chandelier hanging in the centre. Nindooinbah is a historical homestead and property an hour's drive south of Brisbane.

The exhibition is raising funds for the local Quarry Action Group, which is fighting to stop a massive quarry in the area. The region also has issues with coals seam gas exploration. I heard some frightening and amazing stories from locals last night!

The exhibition continues today 2nd September, with a high tea and then open to the public. Below is one of my paintings in the exhibition. The upper 'landscape' becomes a 'landscape' of $ signs at the bottom. The tree is the last witness to the commoditisation of Earth, but the white light offers a glimmer of hope.

Last Witness Oil on linen 50 x 50 cm

 

 

A Picture Is Worth A Thousand Words: When Science Is Art

Last Thursday night I attended a fascinating function at Brisbane's Gallery of Modern Art [GOMA], but hosted by the University of Queensland's Insitutute of Molecular Biology [IMB]. It was an exhibition of paintings by Joannah Underhill, plus a presentation by her and Dr Nick Hamilton, with an introduction by the Director of the IMB Prof. Brandon Wainwright.

Joannah has been an artist-in-residence at the IMB. She is also a cancer survivor. Her presentation was compelling, intellectual, emotional and poetic. It was obvious that both Dr. Hamilton and Prof Wainwright were deeply affected by Joannah's presence at the IMB. Indeed, I spoke with a number of researchers and they all effusively spoke about how an artist's way of  'seeing' provoked them to look and see with different and even new eyes. Please check out Joannah's Residency page.

This is a link to the GOMA event's invitation. Although it has already happened, the invitation provided information, links and details you may be interested in. Please click HERE


Well, I think that's all.
Cheers,
Kathryn

www.kathrynbrimblecombe-fox.com

TALKING

A Road Somewhere Oil on linen 120 x 80 cm  2002-3

I've uploaded this older painting 'A Road Somewhere' because it illustrates the unexpected traversing of many horizons on life's journey.

Why am I being nostalgic about life's journey? Well...this week I was interviewed by Heather Price for her segment on the BLOG TALK RADIO show The Difference. We discuss, over nearly 40 minutes, various subjects stimulated by art. Heather particularly focused, at one stage, on my recent painting 'Ouroboros'  [below]

This is Heather's second interview with me, and I enjoy her deep and spiritual insights and questions. We both grew up 'out west', on farms. We did not meet until the early 1980s, when we were both young brides...me living in the town of Goondiwindi and Heather on a nearby sheep station. We painted together in Goondiwindi with Flying Arts and also worked, with 4 others, on a collaborative installation piece with artist in residence, Lyndall Milani. This installation was facilitated through Arts Queensland and the Insitute of Modern Art, in Brisbane. Both Heather and I now live in Brisbane. We both still have a very close connection to the land. Please check out Heather's fascinating website HERE

                                       Go West Young Woman  Oil on linen 55 x 80 cm 2003

                                             Ouroboros Oil on linen 122 x 153 cm 2012


MORE SPEAKING

In July 2008 I was the invited guest speaker for the University of Queensland's graduation ceremony for the Faculties of Arts, and Behavioural and Social Sciences. I chose the topic of 'Perspective' and even though the event was a celebration of academic success, I wore my artist's 'hat' with the intention of discussing how my art practice stimulates my intellectual life and vice versa. I got some great feedback from academics, graduating students and their parents. I discovered yesterday that there is a audio recording of my speech. Please click HERE to hear it.


NEWS

SCOPE GALLERY
My entry into Scope Galleries Art Award-Art Concerning The Environment is a finalist. I sent the painting to the gallery last week. The award is announced June 2.

BRISBANE GRAMMAR ART SHOW
I have been invited to exhibit again in the BGS Art Show opening Friday 3rd August until 4th August.
My work sold last year and received good feedback, so I am keenly looking forward to this year's exhibition. The BGS exhibition has a reputation for its quality and curation in a non-gallery situation.

TATTERSALL'S CLUB LANDSCAPE ART PRIZE
I have been invited again to enter the $25,000 Tattersall's Landscape Art Prize. It opens at the Tattersall's Club, Brisbane September 5th. The exhibition is moved to Waterfront Place for public exhibition on the 8th Septmber until 21st September.

And, I am wating to hear about a few other prizes, opportunities etc. Will let you know what happens!

Cheers,
Kathryn
www.kathrynbrimblecombe-fox.com