Artworks 2D 2017

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Casurina Living Data

I paint a tree as I remember sitting with my father as he tells me that in nature there are "...no lines, just changes between colours and darkness and lightness". Years later I paint over my tree as I remember my mother burning lines in boomerangs, and the linear cellular structures in all of nature. Now these ways of seeing come together to break the boundaries I used to feel between them.

2017 Casuarina Living Data
450 x 920 mm.
Oil on cotton duck
Private collection, Melbourne

 

Transformation Journey

I paint a snake and trace my journey and transformation as part of nature - physical, biological, spiritual. The snake moves through my genetic ancestors and descendants - the phytoplankton (microscopic plants) that transform sunlight into energy that sustains Life.

2017 Transformation Journey

Acrylic on cotton duck.
Private collection, Sydney

My mother worked as an artist in the Aboriginal Enterprises studio that Bill Onus established in Ferntree Gully, Victoria. Bill's studio was down the hill from where we lived, in the house built by my great grandfather Tom Roberts, the 'Australian Impressionist' artist from England. The atmosphere in Bill's studio was very social. Bill and Mum were friends. To me this place was for people to connect through making art, as much as for making art to sell. At home my greatest joy was when I drew with my mother at the kitchen table, or around the walls of the house (inside and out), using charcoal from the fireplace. She seemed happy too, showing me how to draw and paint people and other animals, how to make sculptures out of 'rubbish', and how to burnish designs with a "red hot poker" onto scraps of wood. For me this was connecting to the world through my mother. She used to say that what we imagine we can realise. Making art with her felt empowering.

 

Every second molecule of oxygen I breathe

This is the first painting that I did as a student of Aboriginal Cultural Arts at Eora College, Sydney. Chico Monks was our teacher and he encouraged us all to find our own ways to identify as contemporary Aboriginal artists. The circle represents both a microscopic and a global view of myself as part of nature, and words and images describe the reality that every second molecule of oxygen we breathe is produced by phytoplankton (microscopic plants) that live in the ocean. The circle also expresses my feeling of connection to the land and ocean that make me who I am.

2017 Every second molecule of oxygen I breathe

Acrylic on cotton duck.
410 x 510 mm

 

Oceanic Light Painting

With guidance from master light painter Peter SolnessI dance in the dark and paint with light to capture with a camera the otherwise invisible choreography.
I call this Oceanic Dreaming because for me the forms evolve from what the artist Len Lyedescribes as "the workings of the 'Old Brain' and genetic memory - that is, he saw the doodle as an intuitive visualisation of knowledge..." For me light painting is tracing and making visible body knowledge of relationships.

2017 Oceanic Light Painting
Protea Dance

Size variable.
Photograph.

I dance around a Protea flower in the dark, 'painting' it with torch light. I capture my 'light painting' with my camera mounted on a tripod and set to a long exposure and a narrow aperture.

The family Proteaceae to which Proteas belong is an ancient one among angiosperms. Evidence from pollen fossils suggests Proteaceae ancestors grew in Gondwana, in the Upper Cretaceous, 75-80 million years ago. The Proteaceae are divided into two subfamilies: the Proteoideae, best represented in southern Africa, and the Grevilleoideae, concentrated in Australia and South America and the other smaller segments of Gondwana that are now part of eastern Asia. Africa shares only one genus with Madagascar, whereas South America and Australia share many common genera - this indicates they separated from Africa before they separated from each other.

Wikipedia, Sunday 0 August 2017 Protea