Tuesday, May 24, 2011

GAS GALLERY

Commodified Oil on linen 36 x 36 cm


I am back in my studio working on an oil painting. But, it will be awhile before it is finished. I am working towards my exhibition Paradise @ Purgatory Artspace in Melbourne 8 Sept- 8 October. Stay tuned for updates as time goes by.

Regular readers will know of my concerns about the impacts of the burgeoning Coal Seam Gas industry [plus open cut coal mining] here in Australia and elsewhere around the world. In the last couple of months public awareness of, and concern about, the industry has increased. So much so, that the media, politicians and the industry itself are beginning to realise public concern is not coming from only the fringes.

Yesterday a gas well at Daandine, near Dalby where I grew up, blew. Here are two articles about the event. 


Events such as these [and this is the 4th leakage, blowout on this property] highlight the risks of this industry, not only to safety, but to the environment; to water, soil and ultimately food production and sustainability. As I have written before, applying the % risk that business is used to, is not the % risk science would apply to activities with potential impacts on the balance of nature eg: the intricate and complex system that is the Great Artesian Basin. [Please see my painting Risk below]

I decided to create a 'Gas Gallery' with a small selection of my paintings that have been 'inspired' by my deep concerns. As I have written before this is my 'quiet activist' work.  In most of the paintings I use small $ signs to create the image details ie: soil, water, sky etc. The smallness of the $ signs means viewers do not discern them from a distance, but as the viewer moves closer the $ signs become apparent. I am 'asking' the question, "Have you noticed what's happening?'


Cooked With Gas Gouache on paper 30 x 42 cm





$oils Ain't $oils Anymore Oil on linen 80 x 100 cm


Detail $oils Ain't $oils Anymore


Salt Eternal Gouache on paper


Can We Eat Coal For Breakfast?  Gouache on paper 30 x 42 cm



GAB: Great Artesian Basin Gouache on paper 30 x 42 cm


Risk Gouache on paper 30 x 42 cm


Earth For Sale Oil on linen 120 x 160 cm


Lifeblood Oil on linen 90 x 200 cm

Well, it is back to the studio for me. But, before I go, I am very happy to report that 2 of my 3 paintings in the Women's legal Service Qld Exhibition sold on the opening night, plus the painting that was included in the Auction.

Cheers for now,
Kathryn

Sunday, May 15, 2011

TRUTH, TREES

Seeing The Truth Gouache on paper 30 x 42 cm

On Thursday I had a really wonderful day. I met up with a friend who I have known since the early 1980s, but whilst we now both live in Brisbane, we very rarely see each other. My friend's name is Heather Price. We first met each other in Goondiwindi when Heather and her then-husband, and I and my then-husband, learnt to play Bridge! Heather and I were both involved in many of the art activities Goondiwindi offered.

On Thursday Heather and I went for a very special walk in the bush at the foothills of Mt. Cootha, just here in Brisbane...yes, we have the bush in ready access to the metropolis! We connected with the natural environment around us and at one point had a discussion about something we each identified in the other...and that is... an ability to see the vast and the intimate, simultaneously. We discussed that perhaps we had developed this ability to 'see' this way, and to also conceptualise it, because our childhoods, and much of adult lives, had been spent in the vast expanse of the Australian rural landscape. I grew up on the flat treeless plain of Pirrunuan, just outside Dalby, on the Darling Downs, in Queensland. Heather grew up in the flat expanses of the land around Moree, in north western New South Wales.

Regular readers of this BLOG will know how excited I felt when Heather and I recognised that each had this innate sense, as I have written about close and far distance, the macro and micro and multiple perspectives before. But, what is it about living in a vast landscape that entices somone to 'see' life and the world around, and within, in ways that are provoked by space and distance...and ultimately time? Both, Heather and I, have absorbed our experiences with distance, in ways which inform our personal and professional lives...me as an artist and Heather as a Creative Counsellor and Healer [and much much more!].

Heather's and my familial heritages are also similar.We both come from a long ancestry of farmers or people who worked on the land and /or sea. We wondered if our innate sense to 'see' the vast and intimate simultaneously, is not just about us, but also about those who came before us. Regular readers of this BLOG will know what I would say...yes, my ancestry will have influenced my powers of observation of and within vastness. Also, as a woman, I resonate with all the other women who lived my ancestry, who lived in remote landscapes, raised families, and tended to community and cultural development in their locales.

There is something about seemingly endless space, that compels you to notice, and take comfort in, the minutiae-the cracks in the dry earth, whispery tuffs of clouds, insects, and so on...but there is more... it's as if the vastness cannot hide its energy.

Before I go on, I know that by now you'll be intrigued by Heather's story. So, here's her website. Enjoy!

THE PAINTINGS
To unravel some of my thoughts about multiple perspectives and distance, I will 'talk' about the three new paintings I have uploaded. At the bottom of this BLOG post I will list other posts where I also 'talk' about perspective, distance, the vast and intimate.

The painting above 'Seeing The Truth' is one of my ambiguous landscapes, created with my much loved age-old transcultural/religious tree-of-life motif. For me, and I suspect also for Heather, seeing the landscape is not just about what we literally see. In this painting I have tried to reveal the energy that exists above and below the earth/land. In a way this is like a cross section of sky and land, revealing intimacies within the vastness of both. The tree pulses with a vascular like energy in the sky as well as below the earth, yet the two energies are connected, like roots are to a tree. In an age where we plunder the resources inside the earth, I think we forget that, whilst unseen, it is still an integral part of our landscape. What happens underneath affects what happens above. Just because we cannot literally see it, does not mean we can forget about it. Really 'seeing' means we need to use our imaginatons, to use our mind's eye, to 'see' those forces which propel not just our earthly existence, but also the one we share with the Universe...or Multiverse.


Cooked With Gas Gouache on paper 30 x 42 cm

Regular readers will recognise that this next painting 'Cooked With Gas' is one of my 'quiet activist' paintings. Yes, it is a comment on the Coal Seam Gas [CSG] industry, which potentially threatens the quality of underground and above ground water supplies, soil and air quality and rural social fabric, not only in Australia but elsewhere in the world. Yes, I have written about this before, but, today I am writing from the perspective of vastness and intimacy.

This painting was inspired by an aerial photo of  CSG activity near Chinchilla, which is a bit further west from Dalby, where I grew up. The photo showed the chaotic spider web like patterning of gas wells and access roads to each well, that criss cross the landscape.

I have painted the roads with small red $ signs and the well sites with yellow $ signs. The $ signs question how we 'value' our land and resources. The fact that the viewer cannot readily discern the $ signs until up close, 'asks' the question ,' Have you noticed?' The movement of the viewer from far-to close-to far distance is a 'dance' which I like to provoke. It replicates the same 'dance' that I enjoy as I move back and forth from a painting examining it from close and far distance, making decisions of aesthetics and meaning. As I have written before, this back and forth 'dance' may be one we all need to learn, in order to live sustainably and compassionately, in this increasingly globalised world in which we live locally.

Whilst 'Cooked With Gas' can be viewed as an expanse of vastness seen from the air, it could also be a cross section of a coal seam, revealing the fissures created by fracking ie: the blasting process used to crack the coal in the seam to release the methane gas to be collected, along with water 'byproduct'.  So, under the earth, in the quiet intimacy of  ancient depths, man induced changes will not go un-noticed! In the first painting 'Seeing The Truth' the tree-of-life which forms the earth, is painted in red to stress its vascular life nurturing nature. In 'Cooked With Gas' red $ signs reduces the 'bood' of the earth by limiting its 'value' to one dimension.

I Am A Tree Gouache on paper 30 x 42 cm


This next painting 'I Am A Tree' places the female figure at the centre. She is the site of all growth. She is the land, the sea, the sky. She is connected to everything, the Universe or Multiverse. She folds duality so that it is no longer recognisable as such. She embraces the vastness with intimate strokes of love and compassion. She is the horizon, as well as being that which exists beyond it...and this horizon may be within us.  She is the landscape in its universal entirity, as well as its co-existing metaphor, the landscape of soul.

She is me, she is you, she is the feminine power that exists within us all...male and female.


http://kathrynbrimblecombeart.blogspot.com/2010/09/cosmic-dust.html
http://kathrynbrimblecombeart.blogspot.com/2010/11/beginning-of-everything.html
http://kathrynbrimblecombeart.blogspot.com/2008/08/dance-with-distance.html
http://kathrynbrimblecombeart.blogspot.com/2010/12/oils-aint-oilsany-more.html
http://kathrynbrimblecombeart.blogspot.com/2010/05/notions-of-perspective.html
http://kathrynbrimblecombeart.blogspot.com/2008/07/in-my-last-blog-i-wrote-about-my-guest.html
http://kathrynbrimblecombeart.blogspot.com/2009/09/flying.html


Cheers,
Kathryn
www.kathrynbrimblecombe-fox.com

Monday, May 09, 2011

JUST A FEW THINGS

Flow Gouache on paper 21 x 30 cm

I have not picked up a paint brush since my exhibition in February. I am getting a bit frustrated, as I have a few ideas purculating around in my head! However, I can see some light at the end of the tunnel. It has not been a too dark tunnel though! I have been working on my picture book, which will be published this year. The manuscript is nearly ready to send. I wrote about the book in http://kathrynbrimblecombeart.blogspot.com/2011/04/let-go.html Below is one of the 30 paintings that will be in my picture book.

Let Them Fly Gouache on paper 37.6 x 28 cm

FLICKR
I have uploaded two short videos of me talking about some of the paintings in my February exhibition VORTEX: Seeking Stillness At Its Core. Here are the links:

WLSQ Art Exhibition

The painting below is one of the three I have in the Women's Legal Service Qld Art Exhibition opening Friday May 20, 6 pm till late at the Riversie Centre, Brisbane. I have another painting in the auction.
See my last post for other details:
http://kathrynbrimblecombeart.blogspot.com/2011/05/sending-love-and-heart.html



                                        The Brush Of Angels' Wings oil on linen 50 x 92 cm


ACT FOR KIDS EXHIBITION

The three paintings below are in the ACT FOR KIDS exhibition opening this coming Friday 13th May, 6-9 pm at White Canvas Gallery, 26 Church St, Fortitude Vallery, Brisbane.  The exhibition dates are: 12-24 May. Please read my previous post where I write about the fourth painting in the exhibition. http://kathrynbrimblecombeart.blogspot.com/2011/05/sending-love-and-heart.html 
For more information:

Collective Memory Oil on linen 80 x 120 cm

Portal Oil on linen 36 x 36 cm

                                             Infinitude Gouache on paper 52 x 63 cm framed.

So, I am going with the flow...referring to the first painting at the top of the page! However, regular readers will know that this painting is not that simple! The red wave is painted with small $ signs, so there is a bit more than simply going with the flow. But, I will write more another time.

Cheers,
Kathryn

Monday, May 02, 2011

SENDING LOVE and HEART

                                Super Mum oil on board 30 x 30 cm

I am a single parent...a single mother...and have been for 11 years. My children were 8, 5 and 2, eleven years ago. I cannot remember much of the first 5 to 6 years of our new life in Brisbane. It was just so, so frantic.

My children are older now, and don't need the kind of supervision and attention small children demand. However, my housekeeping standards have not returned to those I held dear in 1999. I let go of a huge amount of pride in housekeeping between 2000-2006 and I now don't really notice unmade beds, piles of ironing, crumbs on the kitchen bench! Though, I do have a hissy fit if the kitchen rubbish bins get so full that the rubbish starts filling the airspace above  ie: they're doomed to collapse [can't the kids see that????]!

Being the single parent, who has the children most of the time, is incredibly demanding. But, it is also very rewarding to witness and be part of their lives...and also to have others comment on how grounded, gorgeous and mature they are...that makes my heart sing!

As an artist, I work at home and this has been fantastic, because I have been available for my children. I am at home when they get home from school, I can pick them up from school or from whatever sport and other extra-curricular activities they undertake. I have been able to collect them when I've been called by the school to say they are sick. I have attended a range of sports carnivals, music recitals and so on. One of my children was very sporty at primary school and was a champion at a variety of sports....so I trod the well worn track to a number of school, district and regional titles...I think we made it to a couple of State ones too. My attendance was enthusiatically welcomed when the children were primary school age, before they started thinking I was totally embarrassing...yep teenager time! 'Mum, why can't you dress like the other Mums?'...well.... if your Mum is an artist....!

But, this all sounds very much like many Mums and Dads. The only thing is...when you do it on your own, day in and day out, it is exhausting. There are other elements which people may not think about...like...when either of my eldest children had early morning [ie: 6.30 am] sports training, I had to wake the youngest to take her too. I could not leave her at home alone. Her teachers often commented on how tired she seemed some days.

So, I think you will understand my willingness to be involved in two curated fundraising exhibitions to be held in Brisbane. They are::
In both cases funds raised go towards helping provide services to women [WLSQ], and to children who have been abused [ACT for Kids].

In both cases the artwork is selected by a curator, and then hung be the curator.


                               From The Heart  Oil on linen 85 x 147 cm 2008

This painting above, serendipitously titled 'From The Heart' is one of ten paintings being auctioned at the Women's Legal Service 'From The Heart' exhibition. The curator has selected another 3 of my paintings for the general exhibition. If you are interested in bidding please make contact with the WLSQ. This is my short artist's statement for 'From The Heart':

We can send love to anyone/anything anywhere at anytime. What it 'looks' like will be different for each person. When I imagine sending love I imagine a white light emanating from my heart to encompass the person, thing or the Earth...and yes even the universe. In this painting the tree-of-life cascades as white light to encompass great distances.

                                Sending Love Oil on linen 90 x 180 cm 2009

The painting above 'Sending Love' will be in the ACT for Kids exhibition, along with 3 other of my paintings.
The statement above, for the painting From The Heart is certainly exemplified in this painting as well. I chose to enter it for selection to the ACT for Kids exhibition, because I feel it embodies the sentiments and emotions people feel when confronted with the sad stories, lived daily by abused children.

Here are the websites again:

This post is a departure from my posts and paintings about water and coal seam gas! But, hey I'm sending everyone LOVE!

Cheers,
Kathryn
http://www.kathrynbrimblecombe-fox.com/

Monday, April 25, 2011

POLITICAL AGENCY

 http://kathrynbrimblecombeart.blogspot.com/2011/02/blood-connection.html
Blood Connection Oil on linen 80 x 140 cm
 

Regular readers of this BLOG will know there are a few subthemes to my work. However, hopefully you have detected that the overarching premise is to help make the world a better place for us all. I deliberately try not to be didactic, because didacticism is very rarely open ended. It attempts to give answers rather than stimulate questions which may lead to answers, and even more questions, we did not know existed.  Didacticism can also be the disguise of more insidious agendas designed to herd opinion in certain prescribed ways. Didacticism can be mistaken as political, but its lack of open-endedness renders it impotent. Its potential agency dies because it is tethered to prescription.

One of the subthemes in my work is identifiably political and hopefully potently charged ie: my paintings dealing with water, soil, mining and the coal seam gas industry. Yet, I hope viewers feel that rather than being told, I am inviting them to become more inquisitive about the various potential social, economic and environmental impacts of these issues. Once informed, by their own research, they can make up their own minds.

                                                           $oils Ain't $oils Anymore! Oil on linen 70 x 100 cm
                             http://kathrynbrimblecombeart.blogspot.com/2010/12/oils-aint-oilsany-more.html

My paintings do not 'scream' their political agency. They are not attention seeking, in the fashionable sense. From a distance the viewer does not see the small $ signs I use to question 'value'. From a distance the viewer cannot read the small words/quotes I use to create my images. However, when up close, the viewer discerns and sees those things he/she could not see from a distance. I have watched people's reactions when they see the $ signs and words. Many immediately get even closer to check that they are seeing properly. Many walk back to a distance again, and then up closer, and then back again...and so on. Many chuckle and most stay in front of the painting for awhile to contemplate. If I am there they will turn around and ask me questions. Often a long conversation ensues.
 
Regular readers of this BLOG will know that the movement back and forth to view my paintings delights me! Why? Because, I 'see' this movement as the metaphoric 'dance steps' we need to learn if we are to live peacefully, sustainably and productively, in this increasingly globalised world in which we live locally. Simply, the distance viewing is the 'global view'; the close up viewing is the 'local view'. In order to see multiple perspectives simultaneously we need to know the 'dance steps' that allow us to graciously and easily traverse the local/global stage.
 
The movement back and forth also replicates the kind of movement an artist makes as they create. For example, I will paint up close and then move to a distance to ascertain a number of things, from the practical, to the aesthetic, to the esoteric. As I paint I am in a constant process of moving back and forth. If we all engage in, and with, our world in a way where we metaphorically move back and forth to see, hear and feel different perspectives, then we are all potentially sharing in the act of ongoing creation.
 
Earth For Sale! Oil on linen 120 x 160 cm



Beauty also has a powerful political agency...because it offers hope. Beauty is not superficial prettiness enslaved to the transcience of fashion. It cannot be enlisted by attention seeking sensationalism or gimmacky spectacle, also fashion's exhausting attendants. Neither are spectacular or senstational. Beauty does not deny ugliness and sadness, and this is its potent secret...its pathos.  I have written about beauty before : 

http://kathrynbrimblecombeart.blogspot.com/2010/03/beauty.html
http://kathrynbrimblecombeart.blogspot.com/2010/12/beauty-and-vortex.html
http://kathrynbrimblecombeart.blogspot.com/2011/03/beauty-as-portal.html
http://kathrynbrimblecombeart.blogspot.com/2011/03/beauty-gives-hope-chance.html


Can We Eat Coal For Breakfast? No! Gouache on paper 30 x 42 cm

Phantom Water Gouache on paper 30 x 42 cm

Regular readers know I am concerned about issues surrounding the coal seam gas industry, which is burgeoning in S.E and S.W Queensland, as well as other parts of Australia and the world. I am not anti mining per se, but I am anti any kind of activity which puts food producing farmlands and precious water [aquifer and above ground] at risk. From my perception there are enough worrying incidents, in Australia and overseas [particularly the US] to warrant concern. There are also concerned voices calling for caution from the scientific community. I have attended two public forums where these voices have been clearly articulated. The question marks are there and it seems unscientific to proceed, especially with haste, without further research. 

I am reading a brilliant, but scarey book called 'The Coming Famine' by Julian Cribb.  http://www.publish.csiro.au/pid/6447.htm This book coupled with another book I read recently 'Water: The Epic Struggle For Wealth, Power, and Civilization' by Steven Solomon http://www.harpercollins.com/books/Water-Steven-Solomon/?isbn=9780060548308 compel me to believe the upmost caution must be taken to preserve water and food producing soils. As a farmer's daughter, and having lived most of my life in rural Australia, I have witnessed farmers embrace more environmentally sustainable practices in ways which enhance productivity. As a student of history I also know that it is both morally and politically dangerous to risk degradation of food producing farmlands. I have written about risk previously. Please see the painting below and the link to my previous post.

Risk Gouache on paper 30 x 42 cm


 

Cheers,
Kathryn

Wednesday, April 20, 2011

BODY AS SITE

Remembering The Reason Why, Oil on linen, 100 x 60 cm

I recently had lunch with two friends, one who is doing her honours year in Archaeology at the University of Qld and the other a psychologist. I have also recently met up with another friend who has studied Anthropology and Shamanism. I have also recently had a vibrational kineseolgy session with a friend who is learning the 'art'. Today I experienced an amazing clearing session with 'wholistic practioner' Gabrielle Engstrom. I have also listened to an audio of Rachael Kohn from the ABC's 'Spirit Of Things' interviewing author and academic Dr. David Tacey about his recent book 'Gods and Diseases'  http://www.abc.net.au/rn/spiritofthings/stories/2011/3189364.htm I have recently read this fascinating book.

So why have I told you all about my array of lunch dates, readings, listenings and clearings....because they are all linked to understanding and 'seeing' the body as site. How? In the conversations with my archaeology, anthropolgy and psychology friends we seemed to have 'excavated', from numerous angles, the body's potential to contain information, within the physical, as well as the emotional, subconscious and spirit.  I discussed, with my archaeology friend, that releasing and letting go of unhelpful beliefs is like digging on a site to discover those things which are worth keeping and those that are not. New knowledge is gained.

                    
                                                    Finding The Light Oil on linen 100 x 70 cm

The clearing session with Gabrielle was certainly a process of digging, unlayering, revealing...even things I was not consioulsy aware of. She seemed to tap into my subconscious, but at the same time explore my physical state, instantly compelling me to understand that the body's wellbeing, signals deeper emotional and subconscious issues.

This then brings me to David Tacey's book 'Gods and Diseases'. Tacey takes a Jungian perspective, and then extends it, to propose that modern diseases and the increasing propensity for them [eg: drug abuse, alcholism, depression, mid life crisis etc] are the result of not paying attention to the inner calling of spirit and soul. He proposes that if these callings are not heard and listened to, the 'gods' ' desires [ie: our inner callings]to be heard are so great, they will manifest in any way to get attention...and this can be in the form of disease, addiction etc. The book excavates the body as a site for not only physical out-picturings, but as a site for deeper realms of soul and spirit. Tacey also discusses archetypal symbols and their power to help us respond and 'speak', to the callings from within. Regular readers who know of my love of the transcultural/religious tree-of-life motif will know how excited I got when I read this book!

Our bodies, upon death, return to the earth. What happens to our souls? Well, that's one of the BIG questions asked over milennia! But, if our souls return to spirit, which like the earth could be called an 'environment', it seems to me that the idea of body as site extends beyond death, both literally/physically and spiritually. Indeed, they cannot be separated. It seems, in another sense, that death is not really an end. The site of existence is this universe...which may, of course be a multiverse, where time is not necessarily linear or simple.

                                  
                                                                             Becoming Oil on linen 100 x 70 cm

So, with all this in mind, why have I chosen to upload these four paintings?

With Remembering The Reason Why [top] I was trying to portray the idea that there is an urge for life which is shared by us all. This urge is imbedded in our DNA, which may hold human race 'memory', as well as familial genetic memory. Remembering is, I believe, a form of excavation. It is a process which explores time and can illuminate, not only the present but also the past and the future. http://kathrynbrimblecombeart.blogspot.com/2010/10/remembering-reason-why.html

Becoming [above] was inspired by Dr. Norman Doidge's book 'The Brain That Changes Itself'. To 'become' who we are meant to be, the body, brain and psyche have the opportunity to move together...but often they don't. Neuroplasticity enables us to potentially change identified or 'excavated' issues that hold us back hindering almost every aspect of life. In the painting, the trees erupting from the woman's heart, head, hands and feet symbolically connect all aspects of her being to the energy of the universe...the tree archetype helps her connect to spirit?  http://kathrynbrimblecombeart.blogspot.com/2010/02/becoming.html

The painting further above called Finding The Light, and the one below called Becoming The Light, speak of the power of the tree-of-life as a trigger to observe and to listen to the 'Gods' that beckon our 'other' side...the one which seeks deeper meaning apart from the material world.
 
 

Becoming the Light Oil on linen 160 x 120 cm



Cheers,
Kathryn



Monday, April 11, 2011

LET GO

Asleep Gouache on paper 28 x 37 cm


My household is back to normal. The house has been de-flood proofed, I've completed the mind numbing MYOB entry and crunching of numbers to give to my accountant for my tax return, my exhibition VORTEX is over with only one more painting to deliver to its purchaser, the lawn is mowed. I can now see my way ahead for those more exciting projects which have been lying dormant...asleep.

And... I do have a couple of really exciting ones I can now devote time to.

'Asleep'...above...I am pretty sure the rabbit was a much more interesting character than the plodding old tortoise!

BOOK
One of my more interesting projects is a picture book I am self publishing with a company called Balboa Press in the US. The company is division of Hay House. http://www.balboapress.com/ I received a phone call from Balboa just before the Brisbane floods asking me if I'd be interested in publishing a book/manuscript I had previously sent to Hay House. Well...YES! So, my publication is essentially a picture book with a very small amount of text. I am now collating all the images and tidying up the text, working out short-grab marketing lines, title [I have a title in mind] and so on. The book will be for all ages and both sexes. So, keep tuned!

The images I have uploaded on this post are a taste of the kind which will be in my book.

Alone Gouache on paper 28 x 37 cm

PARADISE
Another project is my forthcoming exhibition 'Paradise' @ Purgatory Artspace in Melbourne 8 September - 8 October. 170 Abbotsford St, First Floor, North Melbourne. This is a brief summary of the exhibition:

Paradise is an exhibition of oil on linen, and gouache on paper paintings, exploring notions of paradise, including paradise lost. I use the age old trans-cultural/religious tree-of-life motif to weave historical and spiritual contextual threads through various aspects of the human quest for paradise ‘out there’ and within. By examining paradise from various distances of time and place the exhibition reflects important contemporary considerations of perspective, as we live locally in an increasingly globalised world, where space research proposes the existence of other universes and spiritual explorations suggest vast inner manifestations.

'Paradise' will include paintings exploring the story of Adam and Eve [a story shared by the three Abrahamic religions], environmental degradation [particularly water and soils] and cosmological possibilities. Each of these themes will delve into concepts of 'paradise' in the outer physical world as well as 'paradise' within our inner psyches.

Let Them Go Gouache on paper 37 x 28cm

LETTING GO
The painting above 'Let Them Go' will be in my picture book. I painted a series of work in 1997 which explored my feelings about education. This series has never been exhibited. In 1997 I had two small children, with another on the way, and we had experienced our first encounters with the regidity and confined approach to education. I saw my children's lust for learning very quickly abate as conformity, repetition, low expectations, and a one size fits all approach dampened their spirits. I painted this image as a plea to let kids fly, let them enjoy learning, let them explore...don't hold them back with low expectations, and ridiculous accolades given to such things as neatness!!! Thank goodness secondary school curriculums are more stimulating than primary school!

However, I have realised, as time has passed, that this series is really not just about education. It is more about psyche, soul and our inner child. Indeed, many of the core beliefs we hold deep within us, stem from early childhood experiences at home and at school. Some of these core beliefs, which we subconsciously hold onto into adulthood, are not helpful or healthy and need to be 'let go', so that the child within is acknowledged and loved, and we can move forward as confident adults comfortable with who we are. The 'them' in the title 'Let Them Go' need not be about physical entities.

This painting 'Let Them Go' has meant more and more to me as my children have grown. My eldest spent a gap year as an exchange student in Brazil and my second child is currently in Italy as an exchange student. Letting them go was difficult, but the life experiences, independence and compassion for others that they have gained are invaluable. As a result of their exchange experiences I believe they are better equipped to live in this increasingly globalised world in which we live locally.

'Letting go' has many connotations and I leave this painting [and my others] with you, so you can interpret and explore the way you want. As regular readers of my BLOG know, I believe I do not complete my work...yes, I physically finish the product...but the real completions happen when people are stimulated to have conversations with me, themselves or others. Each conversation provides another completion and thus, my paintings exist dynamically beyond me. I've learnt to 'let go' of my paintings and what they might 'say', and in 'letting go' they have spoken to me in many other ways.

Cheers,
Kathryn
http://www.kathrynbrimblecombe-fox.com/

Monday, April 04, 2011

JUST WONDERING........

The Beginning Gouache on paper 15 x 21 cm

Do you ever remember, as a child, wondering about life and the universe? I do. I wish I had that same infant intensity or perhaps, it is really a wish for more time to wonder. I certainly remember wondering how IT all began. How far did space go? How far did time stretch? When did life begin? These questions took up quite a deal of space inside my head especially in those years before I went to school. Ha! School! Whilst it was initially ok, it soon bored me to tears. I remember it being a place of tedium and repetition where wonder went out the window! Secondary school was a bit better!

My grandmother D.E Ross was a poet, author, painter, accountant! and thinker. She wrote a poem about me which I think captures the frustration I felt at not being able to solve the problems my BIG questions posed. Here's the poem:

A tiny grandchild
  barely four years old
    sits chin in chubby hand.
       long distance in her eyes.

Whatever is the mattter, Katarina?
   I have sad thinkings,
      she wistfully replies.

The line long distance in her eyes. tells me that my grandmother caught me at a time when I was wondering. I still feel as if my eyes lose focus when I daydream or wonder. Yet, at age 'barely' 4 I did not have the vocabulary to explain to my grandmother that I felt frustrated. The word 'sad' was the only alternative!

I've written about my grandmother before, most recently at 'The Beginning of Everything' post http://kathrynbrimblecombeart.blogspot.com/2010/11/beginning-of-everything.html


The Beginning Of Everything Oil on linen 90 x 180cm

My mother Elsie Brimblecome is also a poet, author, painter, educator...not an accountant! She has a B.A, B.Ed St, and a M. Ed [research] all from the University of Queensland. The latter two degrees completed via external studies from our farm outside Dalby and with 3 children under her feet! My mother wrote a poem called 'Catching Time' which I think illustrates a wonder. So many of us wonder about time!

Catching Time
By Elsie Brimblecombe
When in the lengthy stillness
Of a time before counting
I held within my grasp
The seasons and their fruiting
The suns and moons of morning
Burst asunder from my keeping
And delivered the glory
Of their light in sharing

In the very act of thinking
I apportioned light a place
So high in the scheme of things
That forever and a day
Knew nothing of the smile of heaven
Before the fall of evening

Resting in the moment never passing
I caught a ghost of time
in a net shining casting
Outside the cradle of the present
And there thrashing ever floundering
The great creature of the mind
Lay trapped
In hours and days and past and future
Never ceasing.

I love the last stanza! Makes me wonder!

My mother has an exhibition of her paintings currently hanging at the Brisbane Square Library, 266 George St, Brisbane until end of April]. She has called the exhibition 'Art Based On Text' because the paintings come from 3 series of work, each inspired by the written word. These are Italo Calvino's 'Invisible Cities', Artur Rimbaud's 'Les Illuminations' and Brisbane poet Ynes Sanz's anthology 'Fanny The Flying Housewife and Other Stories: Poems for mad and magnificent women'. [published at www.lulu.com by Ynes Sanz, Brisbane, 2009]

Brisbane Square Library web site: 
http://www.brisbane.qld.gov.au/facilities-recreation/whats-on/venues/index.htm?q_venue_id=211

Here are two of my Mother's paintings inspired by Ynes Sanz's poetry, with the accompanying poem.

Mother of Invention: Name unknown, inventor, date of letter 1933, other dates unknown Acrylic on canvas 2010

Mother of Invention: Name unknown, inventor, date of letter 1933, other dates unknown
By Ynes Sanz

'Dear Sir' she wrote, seated at the pine table
with its faint sour smell of yellow soap.
Outside the rain slipped gently
from bent guttering to the verhandah edge
where last year's pressed tin toy would be found
when the house-paddock grass browned off again.

Rolled gold nib and her narrow wedding ring
gleamed back the woodstoves comfortable glow
among the smells of stewed tea and drying boots,
and linen airing on the clothes-horse, where
white pinafores and cut-down trousers
hung ready for the Sunday drive to Church.

She breathed in time with every downstroke
of the marbled fountain pen. So little
rhythm for her in the unfamiliar tool,
the words began to run away,
shake free of the lines and float outside,
to settle in the tea-tree with the wrens.

She saw her children playing on the windrow,
past the yeard where piebald pigs were capering in their mud,
saw her husband, repairing fences on the hill,
small against the too-green Gippsland grass,
this man who collared-and-tied, sodden and shaken up,
drove their old truck to market and to Mass.

Returning to her task, she spelled it out
in her plain cursive hand. Asked the Ford boss could he build
a cross-breed of a car: part coupe and part box.
With his help, she would be the midwife
to the thing that like herself, would grow in time
to be a farmer's steady mate. He said he would.

Scones set to rise, she sits and stares across the years,
bent fingers trace the worn pine table top.
Outside, the hill paddock still stretches up blue green
nearer to heaven with each coming spring
and Jess is barking, splashing through the creek
to grand-children come calling in the family ute. 

I love this poem. It's the country girl in me!


Matron: Irene Melville Drummond, war hero, 1905 -1942 Acrylic on canvas 2010

Matron: Irene Melville Drummond, war hero, 1905 -1942
By Ynes Sanz

who doesn't yearn for mother love
a courage-under-fire kind of love
the mentioned-in-dispatches variety
the sort of love that [when you're in waist-deep with guns at you back and no way
home]
can still find the heart and the guts to say [looking straight ahead so no shared glance will make you crack]
very steadily [so that on hearing her voice you don't falter]
spelling it out very clearly [so there can be no mistake about her words]
something that will never leave you
like 'Chin up girls, I'm proud of you and I love you all'
then
nothing


Other women whose lives inspired Ynes to write poetry about them are: [there are 40 in total in 'Fanny The Flying Housewife']
Amy Johnson, pilot, 1903 - 1943
Josephine Baker, exotic dancer, 1906 -1975
Gertrude Stein, writer, 1874 - 1946
Susan Trevers, 'La Miss', French Foreign Legionnaire, war hero, 1909 - 2003
Doris Taylor, founder, Meals on Wheels, 1901 - 1968

You can find more of Ynes's work at:

So, back to wonder. Ynes's poems make me wonder about the lives of others, those brave and magnificent hoydens embracing life. Her poems make me wonder about Ynes's own wonderings, the catalytic links and inspirations that spark those first words of any poem. I wonder about my mother's wonderings, my grandmother's wonderings. Poetry and art [of all kinds] gives others a special insight into the artist's mind and indeed, soul. It is a private and intimate place which conjures and creates gifts for you and me. These gifts can be tangible, but I suspect the most precious gift is the invitation to wonder too.

Cheers,
Kathryn