FRISSON - a thrill!

Beyond The Dark Night Of The Soul Oil on linen 100 x 100 cm 2009

Love Oil on linen 100 x 100 cm 2009

FRISSON UPDATE

Everything is falling into place just so well. It's like it was all just meant to happen! I am being interviewed this Sunday 28 Feb @ 1pm, by Richard Lancaster on 99.7 FM. So, if you're at home, driving in the car, gardening with the radio on...please tune in! Apologies to all my BLOG visitors from overseas...you won't be able to listen in.

The two paintings above will be in FRISSON and regular readers will have seen them before. However, I thought I would upload them again. Beyond The Dark Night Of The Soul http://kathrynbrimblecombeart.blogspot.com/2009/11/beyond-dark-night-of-soul.html and Love http://kathrynbrimblecombeart.blogspot.com/2010/01/love.html

FRISSON @ Graydon Gallery, 29 Merthyr Rd, New Farm, Brisbane.

Opening Thursday 18 March 5.30-8pm

Exhibition Dates 16-28 March

PAINTING UPDATE

I am still working on the painting I wrote about in my last BLOG. The one exploring horizons, strips of rain, hope, distance, perspective and aura. It is nearly finished. Once it is finished I will attempt to take an excellent photo and upload it on my BLOG.

I already know at least one person who likes this new work ...a delivery man who dropped off the cases of wine I had ordered for FRISSON'S opening. As he was leaving and passed by my easel, he stopped and said quite emphatically, 'Oh, I like this!'. He then had a close look at it and then stepped a few steps backwards to have another look.

Well, I was thrilled, not only because he liked the painting, but he did exactly what I hope viewers will do when viewing my paintings. Regular readers will know what this is. And...that is...looking at my work at both close and far distances, in a manner which almost mimics the steps I take as I paint up close and then step back to view my progress. Whether it is up close or at a distance I am engaging two main sources to critically analyse my work. These two sources or faculties, are my eyes of eye balls and pupils, and my mind's eye. The two work simultaneously, but differently depending on whether I am close or far from my work.


ART AND THE BRAIN

In my recent post about my painting Love, which is above, I wrote about my fascination with Dr. Norman Doidge's book 'The Brain That Changes Itself'. I pondered upon the potential of looking at art to change and /or create new brain maps. Please have a look at my Love post to read more http://kathrynbrimblecombeart.blogspot.com/2010/01/love.html
In this post I mentioned the experience of new ideas tantalisingly appearing only to slip away before I can take grasp. I wondered if this was, in fact, my brain in the process of change.
Today I was trapezing...well actually driving, but it felt like trapezing..around and I was on my own, because I had dropped the children off at their various activities [this included soccer training at 6.30 am...and we do this twice a week, and on 2 different days we have dancing at 7 am...plus the rest, ye gads!] Anyway, I felt a new idea being born in my mind, and I consciously took hold of it!
This idea 'saw' me 'see' the world as a brain, with its many 'maps' in various states of health and dis-ease, activity and inertia, creation and death. It struck me that negativity is re-enforced by the repetitive actions of the mass media. Anything which is repeated becomes habitual, and as we all know, habits then create needs and neediness. The mass media has fed the world's 'brain map' for negativity and negative behaviour, whether it be [mindless!] celebrity silliness, the voyeuristic cruelty of reality tv or the death of war.

Some art mimics mass media presentation and assists in the perpetuation of, an almost, idolatry of pervasive negativity diguised as entertainment. But, maybe the kind of art which is distant from mass media considerations, content and delivery, holds clues to alternative 'habits' which could form new world 'brain maps' or enhance existing more healthy ones. As I have written before, focusing on positive elements and issues, does not mean a lack of understanding of the negative forces within society. It just means that these are consciously ellided. This, in itself indicates balance.
Cheers,
Kathryn

FRISSON @ GRAYDON

One Oil on linen 90 x 200 cm 2009

FRISSON UPDATE

Readers of my BLOG will know I have been working towards my solo show Frisson for quite some time. My last solo exhibition Prayers For The Planet was in October 2007. I just love the word frisson...don't you? I wrote an open ended 'recipe' for a frisson a few posts ago. http://kathrynbrimblecombeart.blogspot.com/2010/01/feeling-frisson.html

Readers will also know that due to circumstances beyond my control I had to cancel Frisson at the gallery where I had to exhibit. BUT, GOOD NEWS! I am very excited, because FRISSON will now be exhibited at Graydon Gallery, in New Farm, Brisbane from 16-28 March, open daily 10am -6 pm. The opening will be Thursday 18 March from 5.30-8 pm. Everything is falling into place really well, and I have already received some fantastic support and encouragement.

The exhibition will be opened by Dr. Christine Dauber PhD, B.A, B.A Honours [Art History] University of Queensland. I am thrilled about this. She has known of my work for many years and over this time has penetrated its essence. As she says, It must first be understood that Brimblecombe–Fox is not so much concerned with landscape painting per se, but in a Warburgian sense, searches for the universal connections, or common ground between people, races and religions. Thus, she uses the “tree of life” or “tree of knowledge” as a repetitive motif and in so doing, deploys its spiritual associations as a global referent.

The image I am using on the invitation and other promo material is the image above: ONE oil on linen 90 x 200 cm. I have previously written abut this painting on my BLOG. Here's the link
http://kathrynbrimblecombeart.blogspot.com/2009/07/one.html

HOPE
I am working on a painting at the moment and my ideas have revolved around issues of water and rain plus what they represent at emotional and even spiritual levels. Regular readers will know that water is of great interest to me and that it has been a sub theme within my broader interests in perspective, distance and the space between the micro/local and macro/global. Overarching all of this is my compulsion to explore the potential of archetypes to perhaps reveal universal connections that mean something to us in the 21st century.

This new painting which I am currently working on, is essentially about hope. I am calling it 'Hope In The Distance' because it is at first glance a painting of strips of rain at the horizon. When I lived in Western Queensland, strips of rain would appear on distant horizons, often cruelly tantalising us with the potential for much needed rain. But, horizons, as metaphors for our lives cascade into so much possibility, because as I have written before, horizons can be both close and far. Our eyes, of eye ball and pupil, see horizons as existing in the far distance, but our eyes trick us, because we are essentially always present upon horizons which exist at all universal and nano distances around us. Our mind's eye can 'see' these multitudinous horizons so much clearer than our eye of eye ball and pupil, especially if we discard one dimensional and simple notions of distance and perspective.

I am reminded of a quote I used in my artist's statement for my show 'Distance' in London in 2002. The quote is from Walter Benjamin's Illuminations where he describes aura as, the unique phenomenon of a distance, however close it may be. The word 'aura' has new age connotations, but I think, whether we know it or not, we are all searching for an experience and an understanding of aura. Maybe this is the unviversal search and that at each era, the agelessness of archetypal symbols offer clues to a discovery or a depended understanding of aura. We just have to keep investigating their potential. I think the investigation may require us to rely more on our mind's eye rather than always relying on our eye of eye ball and pupil...the two need to work together questioning everything.

My thoughts about multitudinous horizons have given me glimpses of the phenomenon of aura! These glimpses slip away as I try to grasp an understanding, but my hope is that as I discard old ways of 'seeing' I might come to a fuller experience of aura. Indeed, as we live locally in an increasingly globalised world, we are all actually forced to collapse notions of distant horizons, as we experience contemporary life. I suppose the hope is that the experience is understood as being potentially transforming in a positive way for all humanity.

Cheers,
Kathryn

PRESENCE

 The Presence Of Angels oil on linen 60 x 100 cm

I spend hours painting and I love it. What I love is that I can work at home, I don't have to dress up [in fact, I dress down *], I can take breaks to check emails or have a coffee and if a new idea pops into my head I can immediately sketch it, think about it and research any aspect of it. I get to imagine and even daydream knowing it is part of my 'job'! I love working alone!

But, my thoughts mean I am never alone. As I remember, fantasize, wonder, hope and imagine I am with others, its just that they're in my head! These 'others' can be people I know, love, would like to know, have read about and so on. I think about them in the context of feelings, what they have said, done and written or what they might say, do or write about. They or their activities are often the catalysts for my ideas. And, when I paint my much loved transcultural/religious tree of life my thoughts embrace the whole world and its humanity.

'The Presence Of Angels' [above] is an image which reveals clues and hints that Angels are present. I wanted to create an image which was suggestive rather than illustrative. I wanted to create an image where people would look for the clues and hints, and perhaps lead them to think about Angels as inspirations, impulses of thought and wonderings. I also like the idea that 'AH HA' instances, which I wrote about in my last post, are Angels knocking on our psyche to wake us up to change or the need for change.

As people look for clues and hints of Angels in this painting I like to think that this searching is done at both close and far distances. Viewers can move back and forth to see what this painting might disclose for them. The macro view may just reveal something which is not discernible when viewed up close and vice versa. Regular readers of my BLOG know that I am very interested in stimulating this kind of back and forth viewing of my paintings. Indeed, it is the way I create the image...I paint up close and then move to a distance to gauge with my eye, of eye ball and pupil, if the painting looks good and also if it has achieved what my mind's eye had envisioned in essence and aura.

This movement back and forth is a movement of perspective. It can be a literal perspective, but at another level the action could evolve into questioning our own perspectives of ourselves and others. As regular readers of my BLOG know, my interest in the macro and micro is really an interest in, and an investigation of, how to negotiate an increasingly globalised world in which we live locally. Maybe how we view art, and the resultant insights we may gain, gives us a way to find the new pathways...the new steps... we need to dance across the contemporary stage which exists between the local and global? If we learn these steps and become more flexibly adept at moving, or should I say sashaying, across the close and far distances of this stage, I'm sure new ideas, wonderings, compassions, understandings are [and give witness to] the presence of Angels.


*DRESSING DOWN
In the first paragraph above I mention I dress down to paint. I do look a sight! Well, on a busy day when I have to pick up children etc, I can change 3-4 times in the day, because venturing out in my painting clothes is not really acceptable. I call my painting clothes my 'eau de turps' clothes. Last week, though, I did decide to pick the children up from the train without changing. And, of course it was the one day when I subsequently did have to get out of the car. And, of course I ran into someone I knew, who did actually comment on the turps aroma. This plus the paint on my face caused my children to pray for the earth to swallow them up! My summer 'eau de turps' clothes are minimal because it gets just SO hot and humid in Brisbane. I wear a short indian cloth skirt which has a few holes in it and a sleeveless top with paint smeared all over it. In winter I wear my normal clothes underneath an excrutiatingly disgusting track dack suit. Needless to say I really enjoy dressing up when I go out...and needless to say I do not own or have the need for any power suits!


Cheers,
Kathryn

AH! HAs

AH! HAs Oil on linen 30 x 30 cm SOLD

My last post was about change and how change leads to us 'becoming' whatever we are meant to be. 'Becoming', like change is a constant process!

I made a comment that we can control some changes...change does not always have to be something that is done to us. In this post I want to write about those 'AH! Ha' moments, which through their very intensity can afford us an opportunity to change and perhaps depart from one 'becoming' road to another. In a way 'AH HAs' are like crossroads...and crossroads are very significant as we do have a choice of which way to travel.

'Ah HAs' are those nanosecond revelatory instances which can lead to new insights, perspectives, letting go old beliefs, 'seeing' something or someone with new eyes...and so on. These instances are felt physically as one's brain explodes with revelation and the gut twists simultaneously with a plethora of feelings from dread, to excitement, thrill and hope. Yes!!!!! these instances are frissons!

'AH HAs' can precipitate change, and thus our 'becoming'. I remember attending...for want of a better term...a spycho babble group session at a health retreat a few year ago, where the facilitor shared an 'Ah Ha' that he had experienced. He recounted how he had had many relationships over a number of years and could not understand why none had worked out...until...he realised... he was the common denominator and maybe it was something about him! I must admit that this made me scramble to think about the things in my life which seemed to consistently not work out. Was I the common denominator? Did I need to look at myself rather than seeing the other person, thing, event, etc as the problem? This is all about perspective, which as regular readers of my BLOG know, is another favourite subject of mine.

I have had many 'AH HA' instances which have caused me to consciously change [or attempt to!] unhelpful beliefs, attitudes and behaviours. One of the most difficult things to change are core beliefs ie: those ones we often don't even know we have because they are rooted in the inherited belief systems of our families and societies. Sometimes, these rooted beliefs are just not helpful to us or anyone in the time we live now, and they need to go. However, there is always a choice...we do not have to let go, if for some reason we cannot or do not want to. But, I think situations will consistently happen, knocking on our psyche, imploring us to change.

An 'Ah! HA' can also cause a period of mourning. Why? I think it is because we mourne those things we missed if a revelation opens our eyes to how certain attitudes, beliefs and behaviours lassooed our 'becoming' or worse, lassooed the 'becoming' of others. But in the suffering there is hope and the latter is the element I like to focus on. As I have previously written on this BLOG, I do not ignore the negative, sad or bad. They exist in absentia, because I consciously elide them. Someone once said to me that my work did not have enough suffering...I will write about this in the future.

So...to the painting above. I have called it 'AH! HAs'. My much loved transcultural/religious tree-of-life embraces the whole painting. It is life! The spots are 'AH Ha' instances offering little windows of possibility. They are like the openings to new universes...which can seem so far, but are really sometimes very close. Distance collapses! This painting is not large at 30 x 30 cm, but it is 'kinda' BIG. Even as I look at it I feel drawn into it. Maybe I am glimpsing the universes beyond! I hope you do too.

THANK YOU
Thank you to all the people who have been visiting my BLOG. You are coming from all over the world and in the last few weeks the numbers have been increasing quite quickly. I started this BLOG in 2006 and whilst I only had a very small trickle of visitors initially, I enjoyed writing and the reflective opportunity it gave me, so I have happily persisted.

And, please feel free to make comments!

UPDATES
For those of you who have read about my exhibition ‘Frisson’ I have some sad news. Due to circumstances beyond my control currently being experienced by Joshua Levi Galleries the decision to cancel the exhibition ‘Frisson’ at this gallery has been made. As you all know I was very excited about the exhibition, but this decision had to be made. I am remaining positive and will keep working. There are some alternatives for the exhibition and I am looking into these. I will keep you updated about a possible ‘FRISSON 2’!

My painting 'Elemental' which has been pre-selected for the Stanthorpe Art Award has gone to Stanthorpe. I put it on the bus yesterday. The prize is announced on the 26 February. http://www.srag.org.au/events.php

Cheers,

Kathryn

BECOMING

                                                 Becoming Oil on linen 100 x 70 cm 2010 SOLD


BECOMING

The painting above is called Becoming. It is the one I referred to in my last post...the woman with trees growing from her head, heart and feet. I mentioned I was painting an image about change.

This painting is inspired by my enjoyment reading Dr Norman Doidge's book 'The Brain That Changes Itself'. I have mentioned this book in a few of my recent posts. I am re-reading it for the second time...but it is taking awhile because I am going to bed so late.

What inspired me was the over arching idea that change is not necessarily something that happens to us...we can make it happen as well. Change is a constant whether we precipitate it or not. So, if we are in a process of constant change we are constantly in a process of becoming. Now, you might ask, 'Becoming what?' I do not know the answer to this question, but I suspect if I did then the process of becoming would be thwarted by prescription and therefore not reach whatever its ultimate force is. All I know is, that if I can do things to ensure my becoming is generally positive I will do these things! Even, if we can make change happen, we cannot minutely control the outcomes of that change. Indeed, I doubt that the change itself can be completely pre-described. I gather from reading 'The Brain That Changes Itself' that many programs designed to fix or improve a disability or problem have often had other positive outcomes which were not initially conceived.

So, as I was thinking about change, an image of a woman with trees growing from her feet, hands, head and heart came to me. I could 'see' her before I even painted her. The tree is my much loved transcultural/religious tree-of-life and in this image represents life's inevitable and constant change, whether it be for one individual or for a group...and even possibly all of humanity. The tree represents growth and a connection to the earth as well as a conduit to the universe and Heaven. The tree can connect with the substance of materiality as well as the substance of the non-material. The tree changes as it loses its leaves, but each cycle of growth and change represents a process of becoming.

When my children were little I read that small children should not wear shoes too early or too much, because the physical experience of feeling on the soles of feet provides information which helps a child to develop healthily in regards to balance, proficiency with walking, running and so on. This made sense to me, so I made sure my children went barefoot whenever it is possible. In Norman Doidge's book he makes a comment about older people and their habit of looking at the ground when they walk. This is because as we get older we rarely go barefoot...well unless you are an artist working from home like me! By not going barefoot and not allowing our feet to experience different surfaces and feelings, we have tourniqueted the natural flow of information to our brains and the return messages which would give us more confidence to walk with our heads held high. Our brain maps for walking confidently are diminished by wearing shoes all the time! Long story...I know...but this gave me the idea of painting my lady with trees growing from her feet.

Knowledge gained via our feet can help us hold our heads high, meaning we are not watching the ground in case we fall or trip. This means we see more of our surroundings, the world around us and importantly we 'see' ourselves in relation to the world...being a part of it, rather than missing out because we need to look at our feet to know where to put them! Kinda nice to think that by going barefoot we might have more chance to witness our own becoming in the world!



TREE SYMBOLISM

My BLOG friend Fred who writes this great BLOG http://www.moneyplusthoughts.blogspot.com/ sent me a link to another BLOG post about the Holiday for Trees or Tu BiShvat holiday, a Jewish celebration. Tree symbolism is incredibly interesting and I have noticed on a few other websites that tree symbolism is now being linked to environmental issues...not surprising really. Symbols do 'say' more that words can describe!
http://jerusalemhillsdailyphoto.blogspot.com/2010/01/tu-bishvat-symbolism.html

Here's a link to a short intro to Mayan tree symbolism:
http://www.buriedmirror.com/yaxche.htm

And two links about Islamic tree symbolism:

http://www.sol.com.au/kor/15_02.htm

http://timesofindia.indiatimes.com/life/spirituality/speaking-tree/Islam-encourages-us-to-conserve-and-protect/articleshow/5347547.cms

There are so many sites to visit to learn about tree symbolism. But, as I have written before...it just reinforces my belief that we are all forever connected through archetypal symbols because they are transcultural and transreligious. Something about them chisels away at our subconscious where a 'knowing' and resonance exists.

Cheers,
Kathryn

ARCHETYPAL

The Brush Of Angels' Wings Oil on linen 50 x 92 cm 2008

Collective Memory Oil on linen 80 x 120 cm 2008

Forever Connected Oil on linen 120 x 80 cm 2008

I have been painting a smallish painting about change. I should be finished in a day or so. Once completed I will upload an image for my BLOG. A woman with trees growing from her heart, feet and hands stands in the middle of change............

In the meantime I thought I'd upload the above three images....and why? Well, they have all been selected for the 2010 Brisbane Senses Art: 31st Rotary Art Spectacular which is being curated by Simon Wright, Director of Griffiths Artworks and Queensland College of Art, and Senior Lecturer [adjunct] at Griffith University. The exhibition and prize will be at Brisbane's Riverside Centre from 18-27 March. Here is the website http://www.rotaryartspectacular.com.au/
where you can read about the prize, the exhibition and the charity partners which Rotary helps support. All the artwork is for sale.

I have previously written about all three paintings:

Forever Connected http://kathrynbrimblecombeart.blogspot.com/2009/05/forever-connected.html

Collective Memory http://kathrynbrimblecombeart.blogspot.com/2008/03/collective-memory.html

The Brush Of Angels' Wings http://kathrynbrimblecombeart.blogspot.com/2009/05/angels-wings.html

It is obvious that all three paintings have a core theme of life which is represented by my much loved transcultural/religious tree-of-life motif. Fundamentally, I aim to search for ways to allow archetypal symbols to 'speak' to me, and you, and us in the 21st century. Archetypal symbols can be seen as old and even outdated... yet they are intrinsically without age...agelessness means they do not have to be tethered to any particular century or aesthetic. It is up to us to 'see' and search for the secrets and essences which give us meaning in our time. This does not make archetypal symbols fickle...it makes them strong. They could be seen as the universe's gifts to us...we just have to learn how to unwrap them. I'd like to think that artists [all types of artists] start the unwrapping and this is our gift.

So, if you want to attend the opening of the Rotary Art Spectacular, go to the website and order your tickets. I went last year and I can tell you, it is a very enjoyable night out.

Cheers,

Kathryn

HORIZONS

Frisson Oil on linen 84 x 147cm 2010

The Hidden Seen In My Mind's Eye Oil on linen 80 x 120 cm 2004


I am working on a painting of a woman with trees growing out of her feet, hands, head and heart...and I am taking a moment as I walk away from the painting...I need to let it breath and for me to let go some frustration. Yes, this is just part of the process, the ebb and flow, the toooo and fro...and so on. It gives me time to 'see' the painting with new eyes when I go back into my studio [well garage!]. It gives the opportunity of a distance which reveals.

So, while I take my breathing moment I thought I'd write about the painting I uploaded in my last post. The painting is called 'Frisson' and whilst I wrote a post with it as the only and lead image, I did not write anything about it. Instead I wafted on about recipes for a frisson........

As you can see I have reloaded 'Frisson' and have uploaded an older work called 'The Hidden Seen In My Mind's Eye'. As I was reviewing my image files I noted, or felt, that the same sense was evident in both paintings. With 'Frisson' I wanted to create a soft, shimmering painting, and I wanted to experiment with using purple and yellow, and all the tones in between. I wanted the frisson feeeling to be one of tingles, a missed heart beat and luscious anticipation. I have to say though, the painting took a lot longer than a nano-second of tingles or a missed heart beat! But, I am happy with the meeting of soft colours, as if distance has melted upon the horizon, heralding the darkness of night and the inevitable rising of a new day. I also think the meeting of colours is like the momentary light brush of someone's hand or lips...yes someone you really like!!! It also whispers the flutter of angels' wings!

I have used my much loved tree-of-life to create the sense of a life force, as if tingles are travelling through a vascular system.

' The Hidden Seen In My Mind's Eye' is obviously an older painting, but I think it also heralds the new day as we witness the softness upon the horizon. I am very fond of this painting and I am surprised it has not sold as it receives a lot of attention when people see it. Obviously THE right person and THE right situation have not happened....yet!

I have mentioned horizons a few times in this post. As regular readers of my BLOG know, I often use landscape elements as metaphors. To me an horizon can also represent our own horizons, limitations, fears, goals, etc. Once an horizon is reached it disappears as other horizons present themselves... and they need not always be in front of us. Reaching an horizon can engender an 'Ah Ha'... or looking back from where we came can also shock us with an 'Ah Ah '... a revelatory kind. Horizons that we see with our eye, of eye ball and pupil, need to be mediated with those horizons we cannot see, because all horizons disappear once reached. We need to be able to imagine what is beyond the horizon. This imagining is imperative in a global world in which we live locally to ensure we are compassionate towards ourselves and others.

Cheers,
Kathryn

FEELING A FRISSON

                                 

 Frisson Oil on linen 85 x 147 cm 2009/10

My exhibition in March is called 'Frisson'. The meaning of frisson...a noun...is a sudden strong feeling of excitement or fear; a thrill. [ORIGIN French. Source-Oxford Dictionary]

It is such a great word. Think of the pleasure in capturing the moment when you meet someone whose attraction to you causes sudden gut tightening feelings of excitement, fear and thrill. This private yet sensual, earthy, tingly and anticipatory experience is a ‘frisson’. It is full of potential and it can be both scary and exciting! And...it can be replayed over and over in our imaginations as we fall into the romance of the situation. Our imaginations allow us to repeat the experience.

I sense that 'Ah Ah' moments are small frissons because the 'Ah Ah' is felt in the gut, heart and the head. The world shifts a little as the 'Ah Ah' becomes both a physical and an emotional experience. I'd like to suggest that the potential is the change which may occur if new realisations are acted upon. This could be physical action or new ways of thinking, but both leading to change over time.

In a previous post I said I would write an open ended recipe for a Frisson. I never follow recipes when I cook, so that's why my Frisson recipe will be open ended. I don't follow recipes for many reasons, including not liking restrictions, not having the right ingredients in my cupboard or that weevils have attacked my cupboard contents, to expired use-by-dates... You guessed it, I am not an avid cook, much to the suffering of my family.

So, to start this Frisson:

• A large cup of excitement
• A small shell of fear


• A tank of anticipation


• A thrill of potential


• A quiver of dread


• A stirring of eros


• A sentient dose of sensuality


• A pinch of gut wrenching


• A nano-second of a missed heart beat


• A 'Ah Ah' moment


• A sweep of tingles

In my previous post 'LOVE' I wrote about some thoughts I had about art and its potential to change our brain maps. I wrote this post after reading Dr. Norman Doidge's marvellous book 'The Brain That Changes Itself'. I am re-reading the book because it is so fascinating.

So, if looking at a painting causes an 'Ah Ah' moment or a frisson, maybe this is a clue that art does have the potential to precipitate change, because frissons and 'Ah Ahs' are felt in the body, heart and mind. Even after seeing the painting, a person can keep thinking about it, replaying the first sighting in their imaginations. This is why some people re-visit their institutional galleries to see their favourite paintings again and again. It is much more than an intellectual or entertainment choice. The replay is a repetition, which must affect the brain and induce the firing of synapses and the release of chemicals. Hopefully, this is why people might buy a painting too...???

My middle daughter saw 'The Resurrection' by Tinteretto at the Queensland Art Gallery when she was just under 3 years old. I could not get her to move and on each subsequent visit to the gallery [up until the dreadful teens arrived] she would make her way the painting to sit and ponder. And...the questions...so many questions. I can tell you she not only had her brain working, but mine too. Answering some of the questions stretched me too, because the probed far beyond any art history I knew!

If art can cause change... it can also cause or assist the maintenance of prevailing patterns eg: the dominance of negativity and worst case scenarios which humankind seems drawn to in the general media and superficial entertainment and celebrity.

BUT, we do have 'free will' and thus choice! Maybe these are two more ingredients to add to my Frisson recipe!

GOOD NEWS

My entry 'Elemental' for the Stanthorpe Art Prize has been pre-selected for the award which is announced on Feb 26th. The selector/judge is John McDonald [Art Critic Sydney Morning Herald and author of Art of Australia Vol 1]
Cheers,
Kathryn

INDULGENCE

So far untitled Gouache on paper 30 x 21 cm 2010

I have just returned from a short glorious holiday in New Zealand. I did not trip around, except for a couple of nights in Auckland, but treated myself to a wonderful quiet indulgence in one spot which was SO worth saving my pennies for. I went with a friend and we stayed at The Boatshed on Waiheke Island and everything was magnificent. http://www.boatshed.co.nz/ Waiheke Island is about half an hour by ferry from Auckland and it is truly a beautiful place. AND, The Boatshed was amazing with its fantastic architecture, incredible views, acres of flowering agapanthus, delectible food, quiet elegance and so on. So, if you are visiting my BLOG from places well beyond the Pacific, I highly recommend a holiday in New Zealand, especially during the Northern winter. New Zealand's weather was just perfect....not freezing like Europe or HOT like Australia!

We had a few nights in Auckland...or we were meant to! I will never fly PacificBlue again. This was my first [and last experience]. Our first night which was meant to be in Auckland ended up being in Christchurch, because the plane from Brisbane was firstly delayed...and then cancelled. We were instructed to to stay at the Christchurch airport despite originally being told we would be sent to a hotel...yes no sleep! We were then put on a plane to Wellington and then to Auckland. Our 3 hour flight from Brisbane to Auckland ended up taking us all night. Not impressed. However, I have just flown back today with Air NZ and it was fantastic. No comparison.

So, in the midst of doing nothing on my holiday indulgence...no cooking, cleaning, washing, mowing, shopping...or children!!!!!...I did paint some small gouache on paper paintings. One of these is above. I am really interested in the play between straight lines and curved ones, especially the curved lines of a tree and its branches. The beauty of gouache is that you can really stretch it, pummel it, play with it. I use very thick watercolour paper and lots of water, and love watching the paint react to the water. It does amazing things which, I can then choose to work with or not. Once the paper has dried it is fun to rework areas, fill in with colour, overpaint and so on. The painting above is full of movement and stems from ideas, thoughts and memories I have written about in a couple of recent posts http://kathrynbrimblecombeart.blogspot.com/2009/12/leaves-are-dancing.html and http://kathrynbrimblecombeart.blogspot.com/2009/12/long-distace-in-her-eyes.html

I am reading Norman Doidge's MD book 'The Brain That Changes Itself' again for the second time. Please read my previous post for some of my thoughts about art and the brain...! I have more thoughts brewing.

AND, now that the holiday period here in Australia is coming to an end, I am full power into working towards my show 'Frisson' at Joshua Levi Galleries opening 4th March.

Cheers,
Kathryn

LOVE

Love Oil on linen 100 x 100 cm

Happy New Year to everyone! I actually saw the New Year in this year...on a boat [quite a big one too] moored off Moreton Island, Queensland, Australia. It was a really fabulous way to see the New Year in. I have a story about me and boats, but that's for another time...I MUCH prefer big boats to small boats.

I am still reading 'The Brain That Changes Itself' by Dr. Norman Doidge. Yes, I am taking it slowly, but I read at night and fall asleep far too quickly. This book is one I will be re-reading though. The idea that the brain can change itself has been refuted/questioned for a long time, but this book chronicles the many years of research and evidence that the brain can, indeed, change itself. It is a multi faceted book looking at how the brain can change to accomodate and override impediments such as blindness, illness and injury amongst other things including attention deficit disorders. It also looks at the changes caused by culture including technologies such as TV, Internet, video games etc... and etc

I have some ideas about visual art [specifically painting] and changes to the brain. These ideas are not whole yet, as they seem to drift into my thoughts and then slip away. I am thinking to myself, is this me experiencing changes in my brain...and if I give up trying to 'catch' my ideas will my brain just slide into a comfortable but not invigorative life? Well, I am going to 'catch' my thoughts, for a couple of reasons, one being that I [humbly I might add] think they are potentially really interesting thoughts and secondly I am now determined that my brain will not slip into a lazy atrophy.

Apparently, the brain changes and is invigorated by doing new things, not necessarily or just by getting better and better at those things one does all the time. So, new concepts may trigger off new ways of thinking and thus neuronal activity, just as learning to dance will stimulate our neurons. It is called brain plasticity or neuroplasticity.

So, I am thinking I might take dancing lessons, because whilst I love to dance and I think I am a really good dancer [my children laugh at me though!] new dance steps will get my neurons dancing too. I want to learn how to dance like Brazilians! Our lovely Brazilian student who stayed with us for 5 months in early 09 could dance OH so well.

I have even started doing some of those quizz type activities in the newspaper...just to get my brain going in different directions. I am not having a huge amount of success, but I am improving each day!

But, back to my fleeting thoughts about visual art and its potential brain changing agency. It seems to me that there is a very fashionable taste element in contemporary art. This art has a graphic appearance, often almost cartoonish. Very realistic images with quirky graphic or colour elements are also fashionable. So, I ask myself...is fashionability an outcome of mass incremental brain changes in the general population 'fashioned' by influences such as TV, video games etc? If it is, then any art which is fashionable cannot be provoking in the sense of contributing to changes in thinking, outlook or perspective. It is a follower of fashion rather than a leader.

So, let's move on from fashionability to art which is not fashionable. Does, non-fashionable art hold the potential to stimulate change and activity in the brain? I mean the kind of thinking or imagining which is not just a repeated version of a the broad visual genre offered by television or video games or advertising. I would say that non-fashionable art is successful in its non-fashionability if it causes people to wonder and ask questions...not questions that sit on the surface of description, but questions that probe our consciousness, beliefs, history, memories and relationships. Art which stimulates those Ah Ah moments when a new realisation hits you with a bang and you can almost feel your brain jolt with the stimulation. And yes there can be some Ha Ha moments too, but not the kind of humour which makes fun of others, is a repeated version of a sitcom type situation or is grounded in superficial slapstick.

So, I will keep thinking about visual art and its agency as a neuron stimulant! But, as readers of my BLOG know, these thoughts fit with my ideas of art as a catalytic agent for agenda-less, but not directionless conversations. It seems axiomatic to me that these conversations would be new, revelatory and cause change not only within a person but potentially throughout the world.

I suppose the clue is to be able to sidestep 'fashion'...maybe that's where dancing lessons will come in handy!

NEW PAINTING ABOVE-
LOVE Oil on Linen 100 x 100 cm 09/10 SOLD

This is a subtle painting using my much loved transcultural/religious tree-of-life motif. There are two trees which form a circle and where they meet the colour turns to a soft purple. I have to say, when I look at this painting I feel something right in my heart. I know this sounds really gooey but even my children have said the same thing. When I was painting this work I knew I wanted to paint 'love'...and it just came out. I did not title this painting after it was completed as it was always going to be 'Love'. And this love can be whatever kind you want it to be...and it can change from day to day if you like! As, I have said before every converstion, whether it be with oneself or with others, that is triggered by one of my paintings, provides another completion. I do not complete my work...and I like the idea that there maybe multiple completions.

The Leaves Are Dancing

The Leaves Are Dancing Oil on linen 36 x 36 cm



I have just come home from a really enjoyable drinks party and I am writing this BLOG to fill in time, because there is a party going on next door, I am a bit hyped from the party I've been to, my children are quietly reading and...well this is perhaps not a serene activity...one child is playing death and destruction games on her new X Box 360 which we bought on sale at the massively exhausting post-Christmas sales. She was given a Harvey Norman gift voucher which went towards her new obsession.


Anyway, here I am filling in time. Luckily I have a new a painting to show off. This is inspired by one of the small works on paper I produced whilst on holidays at Noosa just recently. I wrote about these 'playful' works a few BLOG posts ago http://kathrynbrimblecombeart.blogspot.com/2009/12/holidays.html So, where does the title come from you may ask?

When my eldest daughter was about 2 years old she was gazing out at the trees and bushes surrounding our house. There was a gently breeze. My daughter looked at me and said, 'Mummy the leaves are dancing.' She was perfectly right too...the leaves were dancing. Have you ever watched the breeze pick up the small branches and leaves of gum trees? It is, as if there is a secret musical rythm. It is, as if whispers of sound and movement gently pick up the branches making the leaves reverberate and quiver with small bounces and jives. The leaves move in a twisty, curly way revealing their soft yet silky coloured surfaces. I particularly love the way Box Gum leaves, which are almost circular, move with the air currents. Light glistens off their shiny dark green surfaces sending silvery twinkles across otherwise hot landscapes. I really love Box Gums and planted many of them in my country garden. Oh...and Sheoaks...when the wind pushes through the Sheoak's spiny leaves a wonderous, lilting, etherial sound is made. That's why I planted them in large clumps or spinies. The sound was amplified.

So, why do children notice such small but truly beautiful things, events and happenings and adults tend not to? I marvelled at my young children's ability to notice beauty and fun even in what seemed the most barren of places. And...the next question is....when do we lose this inate ability to notice the small and seemingly un-noticeable rythms of life? I suppose it is somewhere between noticing and getting an X Box!!!

But, artists notice things that others may not. And, these things need not be real or of this world, because artists are attuned to patterns and rythms of all kinds. I imagine artists with small antenna all over them, picking up every frequency of seen and unseen movement or sensation. When I say 'artist', I am thinking of the full range from visual, to musical, dance, film, writers and so on.

I read in Daniel Pink's wonderful book 'A Whole New Mind' that some medical schools in the US are providing their students with art appreciation classes, because even just looking at art teaches people to notice... nuance, detail, pattern etc...and ask questions! Students re-ignite what they may have 'lost' in the process of growing up ie: actually seeing what they are looking at. I gather medical students gain insights into what they don't notice by learning to notice...learning to look and see [again].

So, like most parents I have very fond memories of my children when they were very young and the delightful and poetic utterances they made. But, these utterances are important because they remind us to re-aquaint ourselves with the wonder of discovery through truly 'seeing'. I mean this 'seeing' in the fullest of senses from literally seeing with eyeball and pupil to also 'seeing' with our mind's eye.

Of course, regular readers of my BLOG will recognise that this new painting can also be my much loved transcultural/religious tree-of-life with all the meaning it holds. As an achetypal symbol, the tree-of-life can help us re-aquaint ourselves with the nuances of perspective. It can penetrate pre-conceived and easy assumptions by suggesting to us to 'remember'. I believe it is a remembering of a shared human consciousness...it we take notice!

The Colour Of Knowledge

The Colour of Knowledge Oil on linen 62 x 82 cm

I attended a fabulous workshop some time ago which opened up a plethora of images and ideas for me. I have referred to this workshop in my previous post http://kathrynbrimblecombeart.blogspot.com/2009/11/beyond-dark-night-of-soul.html

During the workshop we discussed the story of Adam and Eve in the Garden of Eden as a parable for the concept that in order to know who we are we also need to know who we are not. I think this makes sense! In an age where people are attempting to learn more about themselves through psychology [mainstream, alternative and pop], checklists, agony aunt type letters, astrology...and the list goes on...it is interesting to ferret out stories and parables which may hold some universal and possibly helpful truths. As the story goes, prior to Eve plucking the apple from the tree and she and Adam taking a few bites, their existence was one of pure oneness or, I imagine, whiteness where they were enfolded and consumed by light. This could be described as the divine light where Adam and Eve were 'One' with the divine.

However, as a result of Eve and Adam taking from the tree of knowledge, they caused a metaphorical refraction of the white light by introducing worldly knowledge. For the first time Adam and Eve could see each other as their eyes were greeted with a world that cascaded into colour and its various hues. Another way to view this is that they were now able to experience good and evil/error [and everything in between!], the mechanisms needed to know who you are not...before knowing who you are.

Now, the human [represented by Adam and Eve] quest in the story is to gain the knowledge of who we are by experiencing who we are not, hence all the vagaries from birth to death that can engulf or embrace us on our life journeys. But, the human experience is also to reflect upon the 'knowledge' gained in the quest, in order to, at some point ultimately feel and experience a deep and true knowing of who we really are. Reflection upon oneself can be difficult! A miniquest within the main quest!

So, after this brief description of the parable you can probably 'see' why I was so inspired. Readers of my BLOG know of my intense interest in the tree-of-life/knowledge motif and my visual attempts to portray it in ways which 'speak' to a contemporary 21st century audience. Like any archetype it needs to have a potency which can be 'read' throughout the ages...otherwise it can't be an archetype I suppose!

The story is one which also shared by the three Abrahamaic religions. I am interested in the fact that through a sharing of the basic story we are forever connected.

So, my new painting above is called 'The Colour Of Knowledge'. Adam and Eve, representing the human race, are depicted at the moment Eve is created from Adam's rib, hence he is still asleep. I have previously written about this in other recent posts http://kathrynbrimblecombeart.blogspot.com/2009/09/where-is-your-paradise.html
http://kathrynbrimblecombeart.blogspot.com/2009/09/adam-and-eveleft-and-right-brain.html http://kathrynbrimblecombeart.blogspot.com/2009/08/garden-of-eden.html
The tree radiates from Eve's outstretched arms. But, Adam and Eve and the initial branches of the tree are white. If the world is all white [or One] differences are not discernible, but as colour cascades, the world fills with nuance, difference, variety, distance, perspective, opposites...all elements that allow the human race to explore who they are by providing the potential to experience who they are not. The quest for identity! I have painted the 'sky' with what appears to be a multitude of stars to 'ask' the question...once we know who we are do we, in fact, return to the white light?

ADDED 7-11-10

This painting is one of the 52 finalists, from over 440 entries, in the Redlands Art Prize.  http://www.redlandartawards.org.au/

'LONG DISTANCE IN HER EYES'

Prayer Gouache on paper 21 x 14.8 cm



Archetype Gouache on paper 21 x 14.8 cm
I am reading a wonderful book at the moment. It is 'The Brain That Changes Itself' by Norman Doidge MD. I highly recommend this book for many reasons. It gives you faith in your own capacities to not only cope with age, impediments, accidents, illness etc, but to change your faculties to enjoy life to its fullest even in the face of aging, accidents, blockages, illness etc. This book re-inforces my belief, which I have written about on this BLOG before, that complexity holds the potency for solutions. I have voiced my thoughts about this with regards to the environment, but it is also applicable to our own bodies. The book investigates everything from learning difficulties, strokes to OCD and other issues which negatively affect our enjoyment of life.

It seems to me that whilst we may not understand the complex systems of our environment or our bodies, we must have faith that the complexity is the element which will provide the answers. Yet, we shortsightedly simplify the potency of complexity by something which is akin to a lack of faith. New research [and some of it not so new, but now embraced!] is revealing the potency of our complex systems to renew, recoup and re-invent themselves. Of course we need to look after ourselves and our environment but we also need to be open and compliant to forces which we may not understand or even be aware of...now isn't that having faith?

As I often do, I refer to the act of painting, which is itself an act of faith. Faith not only in my ability to choose practical and obvious things such as the right colour, brush etc, but also faith that points of disaster and accident or plain 'things just don't seem to be going that well' are part of the process of creation. It is a dance where I am being lead by forces which are seemingly unknown but felt through powers of intuition. In a way it is a return to the faith I had as a child. I am sure many of you know what I mean.

The two paintings above are again my much loved tree-of-life. The top one 'Prayer' is a reminder of the beauty of faith. The second painting called 'Archetype' explores ideas of compexity being achetypical. The tree reflects system-like action which includes shedding as well as renewal. The tree is a perfect metaphor for this because trees shed leaves and branches, some are deciduous, others are pruned, some are burnt, yet processes of renewal through new leaves and shoots or new life borne by wind-blown seeds, remind us of the constancy of life in complexity.

I am going now to share two poems with you. One was written by my grandmother D.E Ross and the other by my mother Elsie Brimblecombe. Both poems are about ageing and both poems reveal that ageing is also a renewal and a source of new insights. My grandmother and mother published a book of poems 'Out There' in 1986 when my grandmother was 87 years old. She died at 92 having been a poet, author, artist, accountant!!! [and a partner in an accountancy firm in W.A], girl guide commissioner, mother of one, grandmother of three, plus a whole lot of other wonderful things. She had her first poem published in a Western Australian newspaper when she was 14. My mother is equally as amazing and is a poet, writer, teacher, artist, great cook, has completed 3 university degrees from the University of Queensland, mother of 3 and grandmother of 8... and of course there is the etc etc etc!

GRATUITOUS YEARS by D.E ROSS copyright

These are the years
that softly fall
on the heart and face.
Cosmetic in effect
they remove all trace
of grievance
with it petulant engraving:
and in its place
evoke gracious gleams of patina
with remembering highlights
of days thought past recall.

Brooding lines
skip merrily
to the music of laughter,
a smile illuminates wherever it can reach.

In this bright climate
courage takes the highway,
and scorns the crypted niche.

OLD AGE by Elise Brimblecombe copyright
The moon played it part
in the bleaching of your hair
Your lines are etched
upon the disc of the sun
The world moves too quickly
for you slowing steps
And the giddiness of youth
has returned to your head

You clutch the bannisters
as you mount the stairs
And dwell too long
upon the rests
You creep from room to room
in tired chase
On the well-knonw track
once travelled at an easy pace

Yet in the mystery of your age
lie secrets
Hidden in the stars
Faint revolutions
Link this planet and the spheres
And in the texture of your life
Is woven more than the pattern of your
years.

My grandmother wrote a poem about me when I was a small child. I was prone to deep thinking and I remember trying to work out life and the universe. I really enjoyed thinking...then school interrupted me for 12 years...and the residual!!!

BY D.E ROSS copyright
A tiny grandchild
barely four years old
sits chin in chubby hand
long distance in her eyes.

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


Looks like 'distance' has been a part of me for a long time! Regular readers would know of my intense interest in perspective and distance.
Cheers,
Kathryn

HOLIDAYS

I have just returned from 6 days holidaying with my family in Noosa. For those of you who live overseas and have not heard of Noosa...well...it is wonderful. The beach is perfect, the views are amazing, the main street ie: Hastings St is full of life and shopping opportunities [although not as good as it used to be because some chain type shops have crept in]. And, the restaurants are great, particularly the ones on the beach front. Breakfast at one of these is a special treat. No need to dress up [unless you want to].

Whilst I was on my holiday I spent some time painting small works on paper. Three of these little paintings are above. The top two are 21 x 14.8 cm and the bottom one is 14.8 x 21 cm. I have not given titles to any of them yet, but my thoughts were obviously focused on my tree-of-life. I was interested in playing around with capturing the spaces between, creating layers and exposing patterns. I like to play with lines and colour, and within these I like to explore variations in tone, toying with my paint brush as it deposits paint on the paper. It is really quite meditative watching paint being absorbed by the paper and knowing you can manipulate it, but only within certain limits. It becomes a game.

People often ask me if I get inspiration from places I visit whether they be in Australia or overseas. Well, I have to say that when I have tried to create work based on my tourist or fleeting experience I am severely disappointed. That kind of superficial visual reporting does not interest me. What does inspire me are conversations with people which may reveal some sort of commonality, which then has the effect of drawing out and extending my thoughts tangentially but not disjointedly. I am like a bower bird, in the sense that I gather and collect ideas which spark off the ideas, memories and feelings I have already collected, thought about and reflected upon. In some ways I 'see' this process like a tree growing new branches. There is a 'system', but one which may only be discernible from the future rather than one which is predetermined.

My holiday provided me with an opportunity to play with paint and ideas. Because, I could not set up a proper studio space, I only took 4 paint brushes, two watercolour pads and 4 tubes of gouache paint. Some might think this was quite restrictive, but for me it was an opportunity to explore and extend within pretty tight limits. Funnily enough the choices seemed endless. I loved it!

TOGETHER

Together Gouache on paper 30 x 21 cm

Together oil on canvas 30 x 30 cm


Last night I presented at PECHAKUCHA Brisbane http://www.pechakuchabrisbane.org/ There were 10 speakers and we had 20 slides which appeared for 20 secs on a power point each. Thus, we each had 6 mins 40 secs to say what we wanted to say. Boy, 6 mins 40 secs flies when you are on centre stage.

I spoke about my interest in perspective, distance and my much loved trans-cultural/religious tree-of- life motif. I somehow intertwined these with my investigations and thoughts about art's catalytic agency as a stimulant for agenda-less but not directionless conversations which may...just may...hold clues to new pathways to peace on earth. Now that's pretty big to fit into 6 mins 40 secs! I think I managed it succinctly though. I also spoke about 'frisson' and described it as a thrill which could be touched with either or both fear and excitement like the moment before a romantic kiss. This was when I could feel my daughter, who was in the audience cringing! Mum talking about romantic kisses....all Mums are too old to even think about things like that! Well, apparently I was wrong...she did not cringe at all. She thought I did a really good job!

As I was preparing for the presentation, I was thinking a lot about my experiences talking with visitors to my exhibition in Abu Dhabi in 2005. Regular readers of my BLOG will have read about these experiences before. Visitors to the exhibition came from all over the Middle East, Africa, Eastern Europe and some from the West. The conversations, which were stimulated by my artwork, went way beyond the art to places of shared compassion where we realised there were far more fundamental similarities between us than differences. As a result of my recent reflections I realise these experiences of intimacy made my world larger. So, a perfect example of multiple perspectives felt and experienced simultaneously...as something got smaller it also got larger.

As readers of my BLOG know I am intensely interested in exploring the notion that our contemporary world is a stage that exists between indeterminate and multi directional 'wings' of the Global and local, macro and micro, intimate and vast. Readers also know that I wonder how we can develop flexible skills of perspective in order to dance across this stage. I wonder if perspective collapses and something else is created...but I don't have a name for it...yet!

We have passed by [ I hope!] the arrested development of the post-modern playground where pretend games lead us to events such as the GFC. We are now on the precipice of learning the dance steps needed to negotiate the 21st century stage. To me a stage still means we can be playful but we are not constantly playing pretend.

Cheers,

Kathryn

FRISSON

Halo Oil on linen 82 x 183 cm


One Oil on linen 90 x 200 cm

I have uploaded the 2 images above previously. The reason I have uploaded them again is that they have now been professionally photographed and readers can get a better idea of them. My attempts with my small digital are not so adequate, especially with large paintings. One day soon, though, I will buy myself a digital SLR.

This is the link to my previous post where I write about 'One'. http://kathrynbrimblecombeart.blogspot.com/2009/07/one.html

These are the links to my previous 2 posts where I discuss 'Halo'
http://kathrynbrimblecombeart.blogspot.com/2009/10/climbing-mountains-seeing-earths-halo.html
http://kathrynbrimblecombeart.blogspot.com/2009/11/halo.html



Now that brings me to my next speaking gig @ PECHA KUCHA BRISBANE next Wednesday 2nd December at Brisbane's Powerhouse. Check out http://www.pechakuchabrisbane.org/ and click on 'upcoming'. You can read my statement when you click on my name. I am really excited about the opportunity to speak about my passion which is art, but more specifically about the catalytic agency art has to inspire agenda-less but not directionless conversations. Thrilled in fact! Each speaker has 20 slides on a powerpoint and each slide appears for only 20 seconds, thus the total presentation time for speaker is 6 minutes 40 seconds.

I have nearly finished 'Beyond The Dark Night Of The Soul'... the subject of my last post. Just a bit of contemplation needed before I decide my bit is done. Because, as readers of my BLOG know I do not believe I complete my paintings. Rather, every conversation a painting inspires,whether it be inside one's head or with other people, completes my work. Thus, there is the potential for multiple and ongoing completions. I see this as giving life to my work.

Cheers,
Kathryn

BEYOND THE DARK NIGHT OF THE SOUL

Detail 'Beyond The Dark Night Of The Soul' Oil on linen 100 x 100 cm

Some months ago I attended one of the most interesting workshops [see below] I have ever been to. It was a multifaceted workshop looking deeply into the threads of life which seem to be ordained, yet with 'will' we can change . The workshop examined the motivation to aspire to the illusory world of material worth and status, those elements of life which are really external to us. It also looked at the world we can choose to embrace when the illusion of status succumbs to derailment, whether is be through loss or an ultimate realisation that life's purpose has to be about so much more than pleasing or conforming to external forces.

The journey through the material world, where the vagaries of external elements affect our core happiness can be repeated over and over again, with pivotal times for change going unnoticed. Yet these pivotal times are opportunities for alternative choices to be made. This often means letting go of things which may have seemed important, but upon deep reflection are not. 'Letting go' may also not be a choice when death, divorce or other forced cessation ocurrs. It is also not just about being a physical experience but also a need to 'let go' in consciousness. Addictions and attachments to things and even people are not helpful to anyone and with bravery, accompanied by a humbling, wilful and mindful decisions to 'let go' can result in a freeing re-evaluation of life.

So, my new painting, which I am working on, is one I have thought about for a long time. The term, 'Dark Night Of The Soul' really hit home with me! But, I will not dwell on heart ache, tumultuous self-reflection or as some might describe it...a total deconstruction of beliefs, attitudes and expectations. What I want to dwell upon and ponder is the 'beyond'...beyond the dark night of the soul.

I have used my much loved tree-of-life motif to [of course] represent life. I wanted to create a feeling of movement and journey, so I became transfixed by the spiral which has appeared in my work previously. A spiral is not static because [to me at least] it has a quivering action which causes movement. I wanted to convey a sense of enjoyment, freedom and healing. I wanted to create an image that people would talk about and respond to by telling their own stories. Some might say it is reflective of a journey of spirit.

Whilst all of this sounds very positive, I want viewers to know that the negative exists, but in absentia. I hope that my work conveys an optimistic approach and outlook, but one which has a mature and realistic understanding that optimism is a choice. And, when there is choice of optimism it means pessimism and negativity axiomatically have existed as potential, but they have not been consciously chosen. I make no attempt, I believe, to cover or hide the negative in warm and fuzzy visual homilies.

The meaning of frisson is...it is a noun... a sudden strong feeling of excitement or fear; a thrill. [ORIGIN French. Source-Oxford Dictionary] I think readers of my BLOG will understand why I am so entranced with the word 'Frisson'. The Ah Ah moments experienced when going beyond the dark night of the soul are full of excitement, thrill coupled with fear...frissons!

beATTITUDE

Please visit http://www.beattitude.com.au/index.php to find out more about the kind of workshop I attended...and more! Also, I recommend Metanoia: Renovating The House of Your Spirit written by Russell Sturgess who owns and runs beATTITUDE with his partner Anna Schaumkel.

Cheers,

Kathryn

PAST PRESENT FUTURE

Past Present Future Oil on canvas 30 x 30 cm

 I have called this painting 'Past Present Future'. My thoughts were about how to represent time in its entirety, hence there are no commas in the title. I wanted to capture the simultaneity of the past, present and future. By this I mean that the past is present in the now and is present in the future, as is the future present in anticipation in the now and the past. The past influences the present and future and the potential of the future can affect the present...remembering the present becomes the past in a nanosecond. To some these thoughts might seem a bit like a maze ie: going nowhere, but I prefer to think of these thoughts as more like a labyrinth where there is a pathway which is from somewhere and goes somewhere. Where it goes and where it comes from is part of the intrigue!

In this painting I have used my much loved tree-of-life motif to represent all life which by its very essence is about the passage of time. The red semicircles act as visual connectors or perhaps a moment here and there. I have another painting called 'A Moment' which will be in my solo show at Joshua Levi Galleries in March. Here is the link to my BLOG post about 'A Moment' http://kathrynbrimblecombeart.blogspot.com/2009/08/moment.html

I gave a talk to a grade 11 Modern History class today. My talk was 'Art+Artists+Conversations' and I spoke about the agency of art to potentially open up new pathways to peace. Notice I do not say 'role'. I do not believe art has a role as it is such a defining word which lacks excitement, potential, possibility, diversity and open endedness. A role also seems to hold prescribed expectations with rules, whether they are written or implied. 'Agency' is a potent word!

Clues to potential new pathways to peace lie in the conversations people have about art either within themselves or with others. As readers of my BLOG know, I have experienced these types of conversations when I exhibited in Dubai 2004 and Abu Dhabi 2005. I have written about these experiences in many of my earlier posts. I call these conversations agendaless but not directionless.

Now this is where I bring in FRISSON which is a great word. It means a sense of excitement and fear. Think of the pleasure of capturing the moment when you meet someone whose attraction to you causes sudden gut tightening feelings of excitement, fear and thrill. This private yet sensual, earthy, tingly and anticipatory experience is a ‘frisson’. This kind of feeling is charged with possibility. It is the kind of 'charge' I sense when agendaless conversations triggered by art take people in new directions by revealing previously unseen pathways of potential. Anything new can feel both scarey and exciting! The words 'agency' and 'frisson' are two of my most favourite words!

I am working on a free range 'recipe' for Frisson...so keep posted!

UPDATE

I have been asked to present at Brisbane's PECHAKUCHA Vol 14 on Dec 2. The event starts @ 20.20 at Brisbane's Powerhouse with 10 speakers in total. We each have 20 slides and talk for 20 seconds per slide...totally 6 mins 40 secs. This is Brisbane's PechaKutcha website
http://www.blogger.com/www.pechakuchabrisbane.org and this is the global one
http://www.blogger.com/www.pecha-kucha.org I am very excited about this opportunity to have a soapbox for a few minutes!

SMALL PAINTINGS

Together Oil on canvas 30 x 30 cm $480 AUD


A Suggestion Of Duality Oil on canvas 30 x 30 cm $480 AUD

Each of these small paintings continue my interest in the tree-of-life. I like these opportunities to paint intense small pieces because I can focus my thoughts. The top painting is called 'Together' and I wanted to create a work which showed a togetherness but also a separateness. I wanted this togetherness to not necessarily be about being together with someone else, but also about being with oneself or on the other extreme a suggestion that togetherness is a relationship of the earthly and the divine. I like the concept of maintaining a kind of separateness, albeit a healthy one, because this gives room for self reflection and growth especially in this earthy dimension we all share. However, there is also that rather sad phenomena where two people can be together but the emotional distance between them is really about separation. How far can a distance be before it heralds the demise of a relationship?

The next painting is called 'A Suggestion of Duality' and I think readers can 'get' it by just looking at it. The tree seems to be mirrored... but not really because the colour variation is not an exact mirror and whilst the shape of the tree is mirrored, the individual branches have no chance of being exactly mirrored, hence the word 'suggestion' in the title and the inherant proposal of questions. I love questions which don't necessarily have answers but trigger more questions, thoughts and ponderings.

Collective Memory Oil on linen 80 x 120 cm $4000 AUD

I have written about Collective Memory previously. Here is the link http://kathrynbrimblecombeart.blogspot.com/2008/03/collective-memory.html This is a quote from this previous BLOG post. 'In this painting I have placed the trans-cultural/religious tree-of-life at the centre of an emanation of thoughts which are represented by the small dots. These thoughts change colour as they move through time to become memories. Yet, everything is connected and a vibration is maintained. The tree-of-life represents everyone...past-present-future.'

UPDATES

1. Tonight in Melbourne an exhibition and prize opens at the Chapman and Bailey Art Award-350 Johnston St, Abbotsford http://www.chapmanbailey.com.au/ The exhibition continues until 28 November. I have a painting in this exhibition and here is the link to my post about 'Majesty and Order' http://kathrynbrimblecombeart.blogspot.com/2009/10/majesty-and-order.html

2. This is a link to my Twitpic image gallery http://www.twitpic.com/photos/brimblecombe

3. And my website http://www.kathrynbrimblecombe-fox.com/