BRISBANE ISO-STUDIO

My Mum gave me my easel a long time ago.

During the COVID-19 pandemic, isolation has meant I spend most days in my studio. As a painter, I am used to working alone, I am just not used to having day after day free of disruptions. At a time when the world is in a state of flux, fear and anguish, I feel lucky to have such an absorbing occupation.

When I am not in my studio I am at my office desk, writing; all kinds of writing - posts, grant applications, articles, proposals, emails. Oh, and yes - social media.

My studio is actually my garage. I paint with the garage doors up, mainly to disperse turpentine smells. However, I can see a lovely park across the road, and I can hear cyclists as they speed by. Snippets of conversations, shouted from cyclist to cyclist, sometimes intrigue me. Like when I hear bits about business deals, family antagonisms, holiday reports, problems with children or parents. It's all so tantalising. I often wonder about further details.

Of particular delight are the families out walking or cycling. And, the young children skate boarding up and down the street. I've even had people wave to me from the footpath, one couple asking if they could see what I was painting. And, a grandmother with two small children, totally unaware that I was nearby, having a long discussion about flowers in my front garden.

Isolation, for me, isn't necessarily isolating.

At the moment I am working on another new painting. And, yes it is another dronescape, a reflection on the accelerating use of drones for a plethora of reasons. I am thinking of calling the painting Drone Show. You'll get to see it soon.

I also have a self-portrait, which I am really very happy about. I am not sure when I will show it to you though. Keeping it up my sleeve for something!!!

In the meantime, here are some studio photos.

                                                            Working on Echoes Across Time

I often cut out shapes in paper to stick on my paintings, to work out how something might look. I ended up not painting an upside-down tree-of-life in Echoes Across Time.

Various resources - cut-outs, print-outs,scissors, containers, oil and coffee!

Cut-outs on the floor and me sitting to paint low down on the canvas.

Cheers,

Kathryn

IN THE STUDIO - AND - OFFICE

Various oil paintings in my studio aka: garage.

I have been busy in the studio and my office over the last months, and weeks. 

The photo above shows some of my recent oil paintings, done over the last 6-7 months - the one on the easel is underway. Since completing my Master of Philosophy [Art History & Cultural Studies], University of Queensland, I have returned to my oil paints - with gusto. While I undertook the degree I painted only on paper. I did this because a work on paper is easier to leave and come back to. [see photos of works on paper below].

RESEARCH

As regular readers know, my academic research included examining the various legal, ethical and political issues surrounding contemporary militarised technology, particularly the airborne drone. Regular readers also know that I examined various technical aspects of weaponisable airborne drones - not a normal art historical approach! However, I believed this kind of research was very important. Why? To equip me with specific information to assist my visual analyses of paintings, that depicted aspects of contemporary militarised technology, by Australian artists George Gittoes and Jon Cattapan. 

The stimulus for my academic research came from my interest in existential risk posed by emerging technologies. When I was offered the post-graduate degree opportunity, I knew I wanted it to include a multi-disciplinary approach. I wanted a major part of my research to feed back into my studio practice - even though the degree was not a practice lead degree. The research into ethical, political and legal issues surrounding contemporary militarised technology is valuable, but the technical research into weaponisable airborne drones and their capabilities, has been pivotal.   

Preparing Powerpoint for presentation in San Francisco 

VISUAL POLITICS

While I was at the University of Queensland [and I still am, as a Honorary Fellow in the School of Communications and Arts] I became involved in a fascinating and burgeoning research area in International Relations - Visual Politics. As a result of meeting many thoroughly interesting and knowledgeable people, I have been included in a few activities relating to Visual Politics. 

One exciting opportunity is being on a panel "War Art: Museums, Militarisation and Militantism" at the International Studies Association annual conference in San Francisco in April. The photo above is an image of my preparations for this conference. As I wrote in the first line of this post, I have been busy in my office too. 

There are a few other opportunities likely in New York and London - will keep you posted once I have details. 

 Various larger works on paper - Dronescapes

Various smaller works on paper - Dronescapes

AUSTRALIA

In light of recent statements by the Chief of the Australian Army, Lieutenant-General Angus Campbell, about Australia's readiness for increasingly autonomous weapon systems, and news about the Australian government's $3.8 billion underwriting to boost arms exports, I invite you to read a post I wrote in September 2016 Aeropolitics Imagined. This post includes two paintings of the Australian continent - and - drones. I will leave you to take a look!

NEWS

• Another article about my paintings has just been published, this time in The Culture Concept. Please read  Kathryn Brimblecombe-Fox: Reach for the Sky: Art Above. The writer, Carolyn McDowell places my work into art historical contexts, but also draws out its contemporary relevance. Thank you The Culture Concept!

• I was asked to write a visual essay for Dialogue: Taking Politics Outside the Box, an e-journal located in the School of Political Science and International Relations, University of Queensland. New Landscapes in the Drone Age was published last week.

• Early alert: Cosmological Landscapes solo exhibition at Dogwood Crossing, Miles, Queensland, Australia: 28 March - 22 May. It is well over two years since my submission was accepted and the show is nearly here! More news about the show coming soon. 

Cheers, Kathryn

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

10 THINGS FOR 10 YEARS - BLOGGING ANNIVERSARY 2006 - 2016

 Scoping The Abyss Gouache on paper 19 x 22 cm 2016

CUE
Taking a cue from social media sites where headlines grab attention I've decided to channel the grab-line! Maybe not as successfully as most media sites, and thankfully for good reason.  I don't think "10 Things You Did Not Know About Kathryn" is really going to grab attention or "10 Things Kathryn Keeps Secret" or "Kathryn's Most Irritating 10 Habits: According To Her Children".

However, to tickle my own humour I decided that I'd list 10 things that interest, irk, inspire me. They are all related to my art practice either closely or tangentially. And, it helps me celebrate my 10th year blogging - posting consistently once a week August 2006 - August 2016!

SCOPING THE ABYSS
But, before I go onto my list. Why did I choose the painting above Scoping The Abyss? 

The drone's scoping devices seek out the abyss where insurgency and terror lies, but I wonder if the scoping actually creates the abyss? Moving away from the military connotation let's think of the painting another way. The ubiquitous nature of connectivity, via an array of devices enable monitoring, surveillance, data collection, data retention and targeting. This creates a virtual abyss where, for example, misleading headlines about celebrities, politicians, events etc throw us into an abyss of superficiality and vacuous diversion. The result is a kind of inertia - maybe an abyss in itself?

Here's an example of being 'targeted' - I googled Suburu cars - yes daydreaming about a new car - and within minutes Suburu advertisements had appeared on my Facebook page. Helpful - NO. Diversionary - yes for a minute or two. Slightly creepy - YES!

Me with two paintings - I am 14 in this photo.

I exhibited in an adult show when I was 14 and sold my first painting at the exhibition.

10 THINGS FOR 10 YEARS BLOGGING ANNIVERSARY

1. TREE-OF-LIFE
I have been inspired by it for decades and I continue to  see how its symbolic potency intersects with contemporary life. It has meant something across cultures and religions for eons and I propose that we ignore it at our own peril.

Beacon Oil on linen 92 x 102 cm 2014

2. COSMOLOGY 

The scientific study of the universe across time and scale helps me with my fascination with perspective , literal and metaphoric. 

Cosmic Auroboros Oil on linen 120 x 150 cm 2012

This post for this painting is the most popular on my BLOG 

3. TECHNOLOGY AND MILITARISED TECHNOLOGY

My current M. Phil research is focused on militarised technology, an incredibly fascinating but somewhat scary area of technological development. I have a particular interest in drones! You can see this in a few of the paintings in this post and in many of my recent posts. 

New Shoots Gouache on paper 30 x 42 cm 2016

4. LANDSCAPE

I grew up in rural Queensland. How we humans 'see' landscape is, I propose, an important element in how our species might survive this century. I combine the tree-of-life, cosmology, technology and more recently, militarised technology into my landscapes where I experiment with literal and metaphoric perspective. Disrupted Horizon [below] is one example of how I combine my various inspirations. 

Disrupted Horizon Gouache on paper 10.5 x 24.5 cm 2016

5. MY STUDIO

I have two spaces/studios in my house. One is the garage [two photos below] and the other is a funny room that used to house the hot water system. The latter is used for my works on paper and the former for my bigger oil paintings. Both a really messy. I love my studios.

6. PAINTING

I love painting. I have previously sculpted with various mediums [clay, concrete, assemblage]. I have also worked with etching, screen printing and lithography. I have worked in installation including one where video was an integral part of the work. I have had experience with photography as my brother is a keen photographer. As a young teenager he had a dark room in one of the outbuildings on the farm we grew up on. None of these mediums gets my daydreaming, thinking, problem solving like painting does. 

Painting at Kindergarten - a few decades ago!

7. VISUAL ARTS POLICY - This is an irk!

Two policies introduced in 2010 and 2011 by the Australian Labour Government of the time have severely and detrimentally impacted on visual artists' earning abilities, plus the flow on effect to various suppliers and dealers. The LNP Government, since election in 2013, has not addressed either issue. I get on my sopabox about these two things - but won't here. I'll just note what they are. These two policies are: 

• 2011 Changes to the status of art/collectibles as an investment in Self Managed Super Funds. 
• 2010 The introduction of the Artists' Resale Royalty Scheme. 

8. ABU DHABI

My exhibition at the Abu Dhabi Cultural Foundation in late 2005 is a highlight of my career. I sat with the exhibition each day over two weeks and met the most amazing people from all over the region, Africa and Eastern Europe. The conversations I had with so many of these people, men and women, have had a profound influence on me. I KNOW that the arts can help create bridges across cultures - BUT unfortunately governments, especially Western ones, often see the arts as a show and tell type exercise or opportunity. I have witnessed this a few times...sadly.

At the opening of my exhibition at the Abu Dhabi Cultural Foundation 2005. 

L to R:Clementine Fox,  Mr Khalfan Asst Undersecretary Abu Dhabi Cultural Foundation, Hon Rod Welford Queensland Minister for Education and the Arts,  Kathryn Brimblecombe-Fox. 

9. PUBLIC SPEAKING

I enjoy public speaking - weird I know.

10. M. PHIL

I am a full-time student at the University of Queensland and loving it - most of the time! I am investigating how two Australian artists George Gittoes and Jon Cattapan represent militarised technology in their paintings. ABSOLUTELY FASCINATING!!! Both artists are remarkable. 

The topic fed from my own work and now the research is feeding back into my work. Also, as I paint I seem to work through some of my academic ideas, which result in new insights. My own work is not part of the degree, but once I have finished the degree I will have a body of work that reflects how it inspired me. 

George Gittoes has an exhibition "Night Vision" here in Brisbane at Mitchell Fine Art Gallery right now - it closes 20 August. If you are in Brisbane you MUST go and see it. It's confronting, but the integrity of the work exudes - George has worked in war and conflict zones for decades and pays witness to the horror of war in multi-layered ways. 

_______________________________________________________________

NEWS

I have again been invited to be a finalist in the Tattersall's Landscape $30,000 Art Award.

I deliver my painting on the 30th August.

The exhibition will be at the Tattersall's Club, Brisbane 5 - 9 September and then it relocates to Riverside Centre 12 - 23 September. 

Cheers,

Kathryn

WORK IN PROGRESS - IN THE STUDIO - AND SURVEILLANCE

 Works on paper - in progress

IN THE STUDIO

It has been wet, cold and windy here in Brisbane this weekend. A good time to spend in my studio. And, this is exactly what I did - for part of the weekend anyway. 

The photos above and below are of work in progress - works on paper - in my studio. The photo above shows the corners of three works on paper and the surface beneath them which is covered with layers of paint built up over many years. The photo below shows the three paintings in the above photo [on left] and two new ones lent up against the window. They are lent there so that when I leave and the re-enter my studio I see them with 'new eyes'. This helps me determine whether they are ready to be released from the studio. I am hesitant to say 'finished' because I don't believe my paintings, and those of many other artists, are ever finished. What do I mean? Well, I think every conversation and thought that someone might have about a painting adds to its story, so how can they ever be really finished?

 Works on paper - in progress 

WATCHING IN ALL DIRECTIONS - SURVEILLANCE

The painting below is one that has 'erupted' from a similarly prepared sheet of paper as seen in the first photo above. I did go somewhat crazy with preparations this weekend! There were sheets of paper on walls, on the floor, on my work space, all drying, dripping, soaking or whatever I had decided was best for each one. A couple have been torn up - yes - brutal endings when I do not think paintings are working out! However, Watching In All Directions worked - well I think so. 

Watching In All Directions is inspired by reading about surveillance. This reading is part of my M. Phil research at the University of Queensland. I am reading about all kinds of surveillance, but mainly drone surveillance - and targeting and potential killing in conflict zones. 

Watching happens from the air, it happens on the ground - watching can entail monitoring individual movements, phone conversations, text messages, GPS systems and more. Signals traverse space, even literal outer space where satellites orbit Earth, receiving and transmitting. It's as if new worlds are created - virtual ones that have great influence on real ones. The circles in the painting indicate the presence of these worlds. 

Watching In All Directions Gouache and watercolour on paper 24 x 32 cm 2016

The landscape is mediated by unseen signals that can penetrate its contours, geographies and physicality. This mediation has dual promises - one promises safety and the other 'promises' fears of being targeted. But, the targeting does not necessarily mean mortally lethal outcomes, but rather, targeting by advertisers, social media and others.

In Watching In All Directions I have played with landscape - in this case a fairly bland landscape, but I have transposed the unseen 'landscape' of signals upon it. I am really interested in making the unseen  - seen, by placing the unseen within an aesthetic frame. As regular readers know, I am particularly interested in painting binary code - the zeros and ones in bright colours, in strips that form colourful ribbon-like elements to my paintings. In Watching In All Directions I am pleased with the 'double entendre' of the sun-like sphere with emanating red and pink streams. Well...is it the sun, shedding its light, creating a more traditional sense of landscape? Or, does it represent another 'world' with apparatus for sending and receiving, watching in all directions?

This post illustrates the artist's process - in the studio - preparations - failures and successes - intellectual as well as creative inspirations - reconciling medium, process and ideas - and a lot more!

Cheers,
Kathryn
www.kathrynbrimblecombe-fox.com 

SOMETIMES THINGS JUST DO NOT WORK OUT

A ROMANTIC NOTION

For an non-artist, an artist's life can seem quite romantic...painting away in a 'garret' with inspiration pouring onto a canvas, which comes alive as if by magic or divine guidance. Yep...that's pretty romantic perception. But, the reality is that whilst there are times of flow and oneness...or whatever you wish to describe the creative pursuit of image making...there are also times of discord when things just do not work out.

I spend long hours in my studio [aka garage] and I love it. I also work long hours doing all the admin 'stuff' from photographing my paintings, to promotion and marketing, writing my Blog, updating my website etc etc. I also love most of this work too, especially writing for my Blog.

Most of the time things work out. Sometimes they work out without hassle, sometimes they need a bit of coaxing....

But, sometimes things just do not work out no matter what!

I have spent the last few weeks working on a new painting. I had hoped to show it to you soon. But, the painting has been 'fighting' with me. I did what I normally do when I sense that things are not quite right. That is, I walked away from the painting...numerous times. Before I left the studio I'd place it in a spot where I'd see it, first thing with new eyes, as I re-entered. This kind of 'intervention' normally brings new insights and ideas, recalibrating 'flow'. But, this particular painting continued to 'fight' with me. The paint would not do the right thing! The colours seemed to suck energy, the balance was not quite right. One night bugs got stuck in wet paint...so I painstakingly picked them out and repainted!

I persisted.


UNTIL TODAY!


I put the painting on the bonnet of my car to look at it in clear uncompromising daylight. YUK!!!! I was not happy....not happy at all.

This painting was NOT going to live.

So, I poured turps on it, to begin rubbing and wiping the paint off...BUT, the turps spilled onto my car...panic set in as I imagined the paint peeling off my car....quick dash to get soap and water....I washed the car, hosed it down. There's one thing driving a 23 year old car, but it does not have to look its age with turps induced peeling or stained paint! I then returned to the task of eliminating my painting.

Rubbing, wiping, more turps, scrubbing and scratching, more turps, until finally I now have the linen canvas at a point where I know I can create another painting without the 'shadow' of the combatant one lurking underneath.

The photo above is me scrubbing...wiping...

The photo below is the scrubbed painting...I am going to let it 'breath' for a bit, before I put paint anywhere near it! I will take a few big breaths too...

PRACTICAL ISSUES

I was not game to leave the painting again, because as paint dries it becomes harder to remove. Even though I had been working on the detail of my now-dead painting for a few weeks [about 3] the surface paint had not completely set. You can see from the photo of the scrubbed painting that there's plenty of red paint left. That's because the red was the first underlying colour. I painted that many weeks ago and had waited for it to dry before painting a blue background. Fortunately the blue had not completely set...and neither had the other colours I had painted on top of it.

I use Belgian linen for my stretched 'canvases', which I get custom made. And, Belgian linen, whilst wonderful to work on and of the highest quality, is very expensive. So...making sure I do not waste or destroy the linen is an economic imperative! The fact that the linen, and its primed surface, are of such high quality also makes it easier to wipe paint off without compromising the integrity of the stretched 'canvas'.

LOOKING FORWARD - FLOW

All is not lost.

I have saved the linen 'canvas'.

I now have a new and rather interesting looking base to imagine with...see I am already thinking like the painting and I are in partnership!

And, I have learnt from past experiences [yes this has happened before] that I have been given an opportunity. Problem solving, re-imagining, re-calibrating are wonderful stimulants for creativity. Otherwise I'd be painting the same thing over and over again...maybe?

In a way, this impasse - agitation - battle, is still part of 'flow'...after all many rivers have rapids and waterfalls that disrupt a calm flow. Even dried up rivers come alive again with rain. And, flooded rivers return to their banks. 'Flow' is just going with it all!

............................................................................................

JUST IN CASE YOU MISSED MY NEWS

PANDORA WEB ARCHIVE  AND MY BLOG
I received an official request from the State Library of Queensland to allow PANDORA [Australia's National web archive - National Library of Australia and partners] to archive my Blog...

 YES this one you are reading now! 

 

PANDORA is an official site for archiving 'online publications and websites of lasting significance' and 'research value' in perpetuity. I am really so very happy that my eight year old Blog has been acknowledged this way. 

 

AND

 

DINNER PARTIES

I invite you to read my last Blog post Time-2015-And Dinner Party Conversations  where I write about the wonderful benefits of having art in your dining room...and I've written a hypothetical conversation based on the paintings currently hanging in my own dining room.

 

AND

 

BILLY GOATS GRUFF - GOLDILOCKS - EXOPLANETS

If you are curious as to the connection between Billy Goats Gruff, Goldilocks and potential habitable exoplanets please read my Greener Pastures post.

AND

 

A reminder that you can now buy Cry Ma Ma To The Moon by Lesley Synge with images by me as an e-book at Amazon 

 

This is a collaboration that began in 1995

Please read my previous post

The Aroma Of Eucalypts

 

Cheers,
Kathryn
www.kathrynbrimblecombe-fox.com

8 YEARS BLOGGING ANNIVERSARY

 

Me in my studio with Pale Blue Dot in progress; Note glass of bubbly! Yes, it's after 5 pm!

This painting will be in my next exhibition UNTETHERING LANDSCAPE

 

 

8 YEARS!

 

It's 8 years this August since I started my BLOG!

Initially I posted daily...well...that did not last long. Trying to write daily is really hard. Since those first few weeks, I have posted once a week.

Yes, once a week for 8 years!

Once a week is great. It's manageable and gives me time to think about my next post.

I really look forward to writing posts. Writing has now become an integral part of my creative process. As I write, new ideas for paintings either pop into my head or appear slowly through the mists of consciousness. Some of these ideas manifest in actual paintings!

I am very happy to report that my BLOG now receives over 3,000 visitors per month. It has been picked up by various online newsfeeds etc particularly with a science/art focus. I am very grateful to all my Twitter, Facebook, LinkedIn, Tumblr, Google+ and more recently Instagram followers/friends who 'like' and/or pass things on for me. Yes, I am a social media fiend/fan! And, I am a tail-ender of the Baby Boomer generation!

 

***********************

 

 

CELEBRATION

 

To celebrate my BLOG's birthday I thought I'd do a few things: Most popular post and those posts that have been widely spread around social media plus news of my forthcoming solo exhibition UNTETHERING LANDSCAPE, plus the Tattersall's $30,000 Landscape Art Prize and more!


1. The most popular post is COSMIC OUROBOROS
Seems like the ancient symbol of a snake eating its own tail gets people excited. I LOVE this painting. Why? Because, there is no chance it will disappear into the décor! Plus, its known and unknown stories are there to be told.

Cosmic Ouroboros Oil on  linen 120 x 150 cm 2012

 

 

2. Here are a few posts that people on GOOGLE+ have spread around, a lot.
The most is RISKY BUSINESS
Followed by two very recent posts
PALE BLUE DOT  and SHARED LANDSCAPE IN THE MULTIVERSE 

And, I LOVE all the paintings in these posts too! Shared Landscape [below] poses questions about land ownership, territorial rights, boundaries and more. How does it pose questions? With its investigation of cosmic perspectives, I hope, it might make people think about the fact that we ALL call Earth home. Let's work together to sustain the planet rather than fight over bits of it. After all, there's nowhere else, at least for the long time being, for us to go!

Shared Landscape Oil on linen 100 x 70 cm 2014

3. NEWS

TATTERSALL'S LANDSCAPE ART PRIZE

• I have again been invited to enter the Tattersall's Club $30,000 Landscape Art Prize. Shall keep you up to date on this. I deliver the painting on the 26th August and the winner is announced on 3rd September. Chris Saines, the Director of QAGOMA, is the judge this year.

UNTETHERING LANDSCAPE

• My exhibition UNTETHERING LANDSCAPE opens its doors on Tuesday 2nd September at Graydon Gallery, New Farm, Brisbane, Australia. The gallery is a rental space, because until I attract a dealer, I will continue to exhibit in places like Graydon. It's actually a great space and my paintings, I think, look great hanging there. Plus, people come...and they buy! And, there's non-metered street car parking too!
  
  I am having an Artist's Talk at UNTETHERING LANDSCAPE on Sunday 7th September at 10.30 am. If you are in Brisbane, please come along. Morning tea too...I am bringing out my country urn to make lots of cups of tea. Graydon Gallery, 29 Merthyr Rd, new Farm, Brisbane.

ARTICLE

• AND, Carolyn McDowell from the terrific online arts and cultural magazine THE CULTURE CONCEPT has written an article about UNTETHERING LANDSCAPE. She has written about a few of my exhibitions and she 'gets it'!
  You can read Carolyn's latest article:
  Kathryn Brimblecombe-Fox Artist, Life & Landscape Entwined by clicking HERE       
  And, when you have read it please share, to help get the message OUT THERE.

Studio shot. Emergent Landscape Gouache on paper 52 x 115 cm in background.

This painting will also be in UNTETHERING LANDSCAPE

 

I spend a lot of my time in my studio...actually two studios. I know...sounds like a luxury, but in reality one studio is also known as the garage. It's where I paint my big oils. My second 'studio' is a funny small room, with an unsealed ceiling, where the hot water system and fuse box are both situated. This is where I paint my works on paper. The photo at the very top, is taken in my garage studio! The photo, just above, was taken in my works-on-paper-studio.

My daughter's cat came to stay with us over a year ago. Here he is...with red paint...this is what happens when you live with an artist.

 

 

To everyone who reads and visits my BLOG...THANK-YOU!

Cheers,
Kathryn
www.kathrynbrimblecombe-fox.com

IMPASSE AND MIND'S EYE

Studio with work-in-progress, on left Pale Blue Dot and on the right a fresh stretched linen 'canvas'...and then general studio clutter.

 

 

So here's an insight into an artist's way of working. I've been inspired by so many things that my new paintings, over the last year, have to greater or lesser degrees, flowed from me. I say to greater or lesser degrees, because each painting poses different issues, questions, possibilities, delights and problems.

 

But, at the moment the painting-in-progress, on the easel in the photo above, has got me stumped. I love its red richness, but what to do next?

 

There are a few problems with this painting and the main one is that I've got too much in my brain at the moment, some of it inspiring and some not. So many ideas, but no clear picture in my mind's eye. This happens periodically. In the past, years ago, I would have become frustrated and completely destroyed the image, if not ripped off the canvas. But, I've learnt to sit with the frustration especially if I am happy with work-in-progress. So, I am sitting.

 

But, even writing this post is sort of cathartic!

 

I can feel some clearer thoughts percolating.

 

Time will tell........

 

__________________________________________________________________________

 

 

You can see a section of my last painting Pale Blue Dot on the left. Now, this painting flowed, at times easily and at other times not so easily. This painting is essentially about perspective. You can read more by clicking HERE

 

 

............................... 

 

 

 

AND TALKING OF MIND'S EYE
Here's a painting from 2004 called

 

The Hidden Seen In My Mind's Eye

Oil on linen 80 x 120 cm

Previous post can be read HERE

 

 

 

 

NEWS

My next solo show is soon!

 

 

UNTETHERING LANDSCAPE

From Earth-Bound Horizons

 

2-14 September

 

Open daily 10 am - 6 pm or by appointment

 

Graydon Gallery, 29 Merthyr Rd, New Farm, Queensland, Australia

 

Exhibition website is HERE

 

 

...............PLUS..............

 

 

I have been invited again to participate in the

TATTERSALL'S LANDSCAPE $30,000 ART PRIZE

 

The prize is announced on Wednesday 3 September

 

 

Cheers,

Kathryn

www.kathrynbrimblecombe-fox.com

A PAINTING'S CAPACITY TO APPROVE OR VETO: AN ARTIST'S PROCESS.

 

New stretchers [Belgian Linen] 

Please read my previous post called The Blank Canvas

 

So, I am painting...the large stretched canvas in the photo above. The two photos below show early stages. I am now working on more colour, more impact, light and shade, depth. It's a constant state of wonderful problem solving.

 

 

 A preliminary coat of paint

 

As I work, the painting 'speaks' to me. Yes, truly it does! It can veto my ideas! It can also 'grasp' my hand with approval! It can pose questions too. This is when I place the in-progress painting in a position where I will see it when I walk back into the studio...and then I walk out. I do other stuff, like write a BLOG post...and later when I return to the studio, I see the painting with fresh eyes. Sometimes I rework an area, other times I see something new, and on other occasions I fall in love with the painting...until it 'asks' me more questions I cannot immediately 'answer'...and I walk out again!

 

Yes, it is kind of like a relationship...

 

And, subsequent layers of paint.

Sometimes people ask me if it is hard to see paintings go ie: sell. Hey, no! I am happy they find new homes. It's a thrill to walk into someone else's house or business and see one of my paintings. Truly a thrill!

 

I also have them hanging in my house. But, they get changed very regularly as they go to exhibitions, competitions, sell etc. The photo below shows you how my work looks hanging in a domestic situation. Don't you just love the 1970s wood panelling! Actually, I have grown to like it a lot...time has given me plenty of space to get used to it. Funny thing is, it would have been very expensive in the 70s. I did not put it there...the previous owners did.

 

 

L to R Multiple Landscapes, When It Rained On Mars and Galactic Horizons And Beyond

But, getting back to the work in progress above.

It's a large painting, at this very minute leant up against my car parked in the carport, so that when I walk back into the studio [aka garage] I can see it through the open garage doors. Yes, I had reached a point where too many questions were muddling me, so I walked away...and I am writing this BLOG post.

I am actually looking forward to walking back into the studio. I have been painting long enough to know that the process is exciting. The problems are never really that bad, because the process gives me strategies to deal with them. Long ago when I was younger I would wipe out, tear up, get angry and frustrated...but with age I've learnt that the impasses are just as creative as the moments and hours when everything falls into place.

The new painting will be themed along the lines of the thoughts I expressed in my last post Prelude To Landscape And, I am happy to report that the painting is not vetoing...it's just asking questions!

Cheers,
Kathryn
www.kathrynbrimblecombe-fox.com

MY STUDIO/S

 

 

 

 

I have no new work to show off this post, so I thought I'd upload some photos of me in my studio. I have two spaces where I paint at my house. One is the room in the photo above, which also houses the hot water system and fuse box! It's where I paint my works on paper. The map drawers are great storage for unframed paintings. I've had them for over twenty years.

 

The second space is my garage. No longer a place for cars! It is where I stack some stretched linen paintings, as well as paint them. My easel, paints and brushes are always there. However, many of my paintings start off flat on the ground, like the photo below of me kneeling beside a canvas. Lots of turps and paint ends up on the concrete floor. I have to be careful not to walk in it and bring it onto the carpet inside the main part of the house.

 

 

 

 

The third working space in my house is my office, where I am in the photo below. Here I am on the phone, obviously having been called into the office from my studio. My paint shirt [fortunately] matches my eyes! My office is very near both of my studio spaces...and yes I have managed to get paint on the carpet...and you can see some on the phone too.

 

I am really lucky to have space to paint and work. One of the best things is being able to leave my paints, brushes etc out...not having to pack them away. It gives me freedom to come and go as needed, especially on those busy days where other distractions need and demand attention. You know things like doing my tax, running after children, cleaning the pool, mowing the lawn...general 'stuff'!

 

 

 

The three photos above were taken by my daughter. I won't show you the embarrassing ones! There's a great one of me on the phone with a face mask [the kind which promises better skin!] on....

 

And... just so you can see me dressed well, here's a photo [below] taken by talented Brisbane based photographer Gillian Van Niekerk from Vann Photography You can find Vann Photography on Facebook too.

 

 

 

 

NEWS

 

1. My next solo exhibition

COSMIC ADDRESS

will be in 15- 27 October

Brisbane

 

Check out my recent COSMIC ADDRESS preview notification HERE

 

And to see a painting and post called COSMIC ADDRESS please click HERE

 

-------------------------------------------------

 

2. And please check out my recent feature in The Art Life's New Work Friday HERE

 

--------------------------------------------------

 

3. And in case you missed my recent short story [with images]

 

STIRRING THE STAR DUST

 

please click HERE

 

----------------------------------------------------

 

4. And to see the most popular post on my BLOG 

 

COSMIC OUROBORUS

 

Please click HERE

 

Cosmic Ouroboros Oil on linen 120 x 150 cm 2012

 

 

I will have a new painting to show you next time.

Cheers,

Kathryn

www.kathrynbrimblecombe-fox.com