ReDot Fine Art Gallery presents:
Layers of Time Works by David Kelly from 2008 -2013
Wednesday, 24th April to Saturday, 1st June 2013
For a high resolution, downloadable, PDF version of the this catalogue, with pricing, please send us an email to info@redotgallery.com Thank you.
c o n t e m p o r a r y
f i n e
i n d i g e n o u s
a r t
PREVIOUS SPREAD Eucalypt in the Belair National Park; Berri Werri Track ABOVE David at work in his Studio - Nepabunna Dusk in progress; 2012
‘…the celebration of the power of nature and the effects of the elements, fire, wind and water; the combined forces that create the ‘marks on the landscape’ set beside intimate glimpses of the trunks of trees, the shedding of bark, the feel of weathered rocks held in the hand, the sight of a leaf-strewn track in the bush or as in the case of the large painting commissioned by Santos, the awe-inspiring ancient landscapes of central Australia. David’s working methods are unusual – his inspiration flows from his multiple experiences of the visual world, gathered over decades. He distils these with great skill into fresh abstract images that emerge slowly as he works. His lyrical, abstract images provide an opportunity for the viewer to travel privately to places or events held dear in the subconscious…’ ‘Landmarks’ 2008 Solo Exhibition opening address; Adelaide Dick Richards Former Curator of Asian Art Art Gallery of South Australia
Layers of Time - Artist’s Essay
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My work has always been concerned with the telling of a story. Beyond a physical representation to a layering of emotions, memories and visual elements that encapsulates significant experiences and places of my life. Inevitably, time blends these influences into a uniquely individual journey through cultures, environments and encounters of great diversity. Though sometimes disparate in their nature, there exists a commonality of interpretation that brings these stories together through visual art. ‘Layers of Time’ follows my walks through Australian native bush country that surrounds my home studio. It stops to observe the ubiquitous eucalyptus trees and listen to cracking twigs in the dry summer. It looks up at shedding bark and rejuvenating new growth. It feels the cold and damp of winter with its muffled squelch and heavy shadows. This exhibition also stands motionless in the baking heat of South Australia’s northern deserts. It watches the horizon shimmer in a burnt ochre line of immense proportions, hearing nothing but the erratic buzz of flies and mournful wail of the crow. It shares time with the Gija people of Western Australia’s Kimberley, seeing their place through the eyes of a newcomer imbued with the stories of Ngarranggarni. Avian views of the Ord River twisting serpentine through the North West echo memories of Lake Eyre and the isolation of life in a remote mining town. It stands humbled before the crumbling walls of Cambodia’s Tuol Sleng, in a deafening silence. The visual qualities of all these remembered places and times are inextricable from the emotions that still accompany them. No single painted image is a direct representation of a physical entity. They are each an amalgam of all the human senses that we use to record experience. Each painting becomes its own new creation which owes homage but stands distinct from that which provided its inspiration. Whilst there may exist a sense of identification at various levels, the works never seek to simply emulate the physical. They are equally the product of observation, imagination, memory, emotion and serendipity. A significant means of blurring the lines of connection between what many would refer to as the ‘figurative’ and the ‘abstract’, is the imagined extremes of perspective. In the inevitable search for identification, the viewer may refer to that which fills the frame of vision at its closest. Equally, an aerial imagining from enormous distance may provide points of reference that resonate with others. Whilst an important element of engagement with the story, this response to imagery through perceived recognition is
just one means of connection with the work. It is also one which appeals to those who may have shared an experience in the same or similar places. The evocation of personal memories for the viewer is a powerful means by which to both hear the story being told and take up one’s own recollected journey. The layers of time that passed in forming these works are both metaphoric and literal. References to the heavily textured bark of eucalyptus trees, ancient earth of the interior and confluence of myriad waterways are all as symbolic as they are representational. In visual terms the textures, colours and forms that emerge under the hand of nature’s elements, resonate with a palette of great beauty while speaking of the inexorable progress of its brush. Similarly, the richness of our lives is greatly enhanced by the accumulation of character building experiences. These are the layers that make our own stories unique, each being informed by the preceding and having influence over that which follows. In practical terms, these works are composed of multiple layers, evolving over several months in most cases. The elemental processes of growth, decay, weathering and erosion are emulated by the repeated application and removal of various paints and materials. This cyclical procedure results in the exposure of underlying sections that bear the marks of partial erasure. While beginning each painting with some clarity of intent, most completed works have taken a serendipitous route through many complex stages before assuming their final identity. At this stage there emerges a sense of ‘rightness’ that defies definition in terms of composition or formal structure. With no clinically observed reference to determine the accuracy of the painted image, some inexplicable means of assessing the work comes into play. Due to its informality, this process is unique to every viewer, allowing each person who engages with the work to find their own points of connection and appreciation. Bringing together collected works that span a period of years allows for the observation of both development and continuity. There is the opportunity to hear different stories that are linked by a consistent voice, or perhaps the same stories in a voice that has evolved with maturity. At each telling there emerges a new emphasis and the discovery of new possibilities. ‘Layers of Time’ is a selected reference to the strata that form the terrain of my life. To the years I have spent composing the stories that speak of this life. To the layers of time that have elapsed in the creation of this work. David Kelly December 2012
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Eucalypt Sentinels Oil & Acrylic on Board 240 x 420cm DK1304001-7s
David KELLY
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The ubiquitous eucalypt surrounds my home studio, a constantly changing myriad of seasonal colour, texture and form. The bush. A brittle wall of bleached summer sentinels and winter shroud of subtle greys. A single entity. The next day, the next walk, the next moment of contemplation and unique personalities emerge. Whites that are full of colour. Wounds that ooze life. Tortured angles and unlikely symmetry. Perfect imperfections. Intimate details of exquisite beauty. Scars of growth and decay. Remnants of those long gone and the promise of those to come. A community of individuals to be treasured. A metaphor for life.
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David KELLY
Melville Hill - Tetraptych Oil & Acrylic on Board 180 x 180cm DK1304006a-d
Connecting fire-fighting tracks in the Belair National Park, the Melville Hill Track winds steeply down from dense ochre barked Eucalyptus forest to the lush green reeds of the winter creek.
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David KELLY
Long Gully - Tetraptych Oil & Acrylic on Board 180 x 180cm DK1304007a-d
The damp, shady gully ushers the Minno Creek through the park, with soft edges of green growth and deeply textured trunks.
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Confluence 1 & 2 Oil & Acrylic on Board 100 x 200cm DK1302019-20c
David KELLY
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The confluence of water from rivers and coast lines is an elemental playground. From dry plains and rocky interiors the soils wash through estuarine borders in a fluid amalgam measured in moments and millennia.
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Pulau Tiga Oil & Acrylic on Board 120 x 240cm DK1304001a-b
David KELLY
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During a period of years living in South-East Asia, flights over the myriad islands surrounded by oceans of mysterious depth and translucence provided a lasting symbol of contrast to my predominantly dry, southern home. Coupled with these captivating foreign landscapes were the exotic languages that described them, speaking of adventures into the unknown.
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David KELLY
Minno Creek Sentinels - Triptych Oil & Acrylic on Board 160 x 120cm DK1211016a-c
Beginning its gentle journey in the gully below my studio, the Minno Creek is flanked by the multi-coloured white trunks of the stately Blue Gums.
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David KELLY
Nepabunna 1 Oil & Acrylic on Board 120 x 120cm DK1302015n
A northern landscape unchanged.Vastness that traces the curvature of the earth. Heat that shimmers too white to be blue. Earth that smoulders with ochre embers and an overflowing emptiness.
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David KELLY
Nepabunna 2 Oil & Acrylic on Board 120 x 120cm DK1302016n
A northern landscape unchanged.Vastness that traces the curvature of the earth. Heat that shimmers too white to be blue. Earth that smoulders with ochre embers and an overflowing emptiness.
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David KELLY
Nepabunna 3 Oil & Acrylic on Board 120 x 120cm DK1302017n
A northern landscape unchanged.Vastness that traces the curvature of the earth. Heat that shimmers too white to be blue. Earth that smoulders with ochre embers and an overflowing emptiness.
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David KELLY
Nepabunna 4 Oil & Acrylic on Board 120 x 120cm DK1302018n
A northern landscape unchanged.Vastness that traces the curvature of the earth. Heat that shimmers too white to be blue. Earth that smoulders with ochre embers and an overflowing emptiness.
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David KELLY
Nepabunna Dusk Oil & Acrylic on Board 120 x 120cm DK1304002
Returning home at the end of the day teaching in the tiny Aboriginal community of Nepabunna, the magic of dusk painted a very clear picture of the scale I assumed in a northern landscape unchanged.Vastness that traces the curvature of the earth. Heat that shimmers too white to be blue. Earth that smolders with ochre embers and an overflowing emptiness.
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David KELLY
Karka - Triptych Oil & Acrylic on Board 120 x 90cm DK1304008a-c
The colonial pavilion stands among an eclectic community of exotic species and smooth, white Eucalyptus trunks.
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David KELLY
Tuol Sleng – Silent Wall in Blue Oil & Acrylic on Board 100 x 100cm DK1302021ts
After thirty years, the walls of the former Khmer Rouge prison in Phnom Penh are crumbling. Flaking layers of plaster and paint give way to encroaching damp and oppressive heat. Surfaces seep with the beauty and inexorable touch of natural elements, fading the stencilled numerals and text, healing the symbolic scars of human brutality. In the haunting black and white photographs, names are replaced with numbers. On the walls that bore witness, the numbers grow faint and the voices fall silent.
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David KELLY
Tuol Sleng - Silent Wall 3-6 Oil & Acrylic on Board 100 x 100cm DK1302022ts
After thirty years, the walls of the former Khmer Rouge prison in Phnom Penh are crumbling. Flaking layers of plaster and paint give way to encroaching damp and oppressive heat. Surfaces seep with the beauty and inexorable touch of natural elements, fading the stencilled numerals and text, healing the symbolic scars of human brutality. In the haunting black and white photographs, names are replaced with numbers. On the walls that bore witness, the numbers grow faint and the voices fall silent.
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David KELLY
Berri Werri Track Oil & Acrylic on Board 100 x 100cm DK1304009
Images that found their form in response to moments of rest. Hot days walking the trails and resting in the shade. Drinking cool water and listening to the silence of paused footsteps. Intimate glimpses of fleeting perfections, drawn of the elemental palette.
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David KELLY
Berri Werri Track Oil & Acrylic on Board 100 x 100cm DK1304011
Images that found their form in response to moments of rest. Hot days walking the trails and resting in the shade. Drinking cool water and listening to the silence of paused footsteps. Intimate glimpses of fleeting perfections, drawn of the elemental palette.
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David KELLY
Berri Werri Track Oil & Acrylic on Board 100 x 100cm DK1304012
Images that found their form in response to moments of rest. Hot days walking the trails and resting in the shade. Drinking cool water and listening to the silence of paused footsteps. Intimate glimpses of fleeting perfections, drawn of the elemental palette.
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David KELLY
Berri Werri Track Oil & Acrylic on Board 100 x 50cm DK1302001
Images that found their form in response to moments of rest. Hot days walking the trails and resting in the shade. Drinking cool water and listening to the silence of paused footsteps. Intimate glimpses of fleeting perfections, drawn of the elemental palette.
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David KELLY
Berri Werri Track Oil & Acrylic on Board 100 x 50cm DK1302002
Images that found their form in response to moments of rest. Hot days walking the trails and resting in the shade. Drinking cool water and listening to the silence of paused footsteps. Intimate glimpses of fleeting perfections, drawn of the elemental palette.
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David KELLY
Berri Werri Track Oil & Acrylic on Board 100 x 50cm DK1302003
Images that found their form in response to moments of rest. Hot days walking the trails and resting in the shade. Drinking cool water and listening to the silence of paused footsteps. Intimate glimpses of fleeting perfections, drawn of the elemental palette.
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David KELLY
Berri Werri Track Oil & Acrylic on Board 100 x 50cm DK1302004
Images that found their form in response to moments of rest. Hot days walking the trails and resting in the shade. Drinking cool water and listening to the silence of paused footsteps. Intimate glimpses of fleeting perfections, drawn of the elemental palette.
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David KELLY
Berri Werri Track Oil & Acrylic on Board 100 x 50cm DK1302005
Images that found their form in response to moments of rest. Hot days walking the trails and resting in the shade. Drinking cool water and listening to the silence of paused footsteps. Intimate glimpses of fleeting perfections, drawn of the elemental palette.
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David KELLY
Berri Werri Track Oil & Acrylic on Board 100 x 50cm DK1302006
Images that found their form in response to moments of rest. Hot days walking the trails and resting in the shade. Drinking cool water and listening to the silence of paused footsteps. Intimate glimpses of fleeting perfections, drawn of the elemental palette.
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David KELLY
Berri Werri Track Oil & Acrylic on Board 100 x 50cm DK1302007
Images that found their form in response to moments of rest. Hot days walking the trails and resting in the shade. Drinking cool water and listening to the silence of paused footsteps. Intimate glimpses of fleeting perfections, drawn of the elemental palette.
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David KELLY
Berri Werri Track Oil & Acrylic on Board 100 x 50cm DK1302008
Images that found their form in response to moments of rest. Hot days walking the trails and resting in the shade. Drinking cool water and listening to the silence of paused footsteps. Intimate glimpses of fleeting perfections, drawn of the elemental palette.
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David KELLY
Berri Werri Track Oil & Acrylic on Board 100 x 50cm DK1302009
Images that found their form in response to moments of rest. Hot days walking the trails and resting in the shade. Drinking cool water and listening to the silence of paused footsteps. Intimate glimpses of fleeting perfections, drawn of the elemental palette.
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David KELLY
Berri Werri Track Oil & Acrylic on Board 100 x 50cm DK1302010
Images that found their form in response to moments of rest. Hot days walking the trails and resting in the shade. Drinking cool water and listening to the silence of paused footsteps. Intimate glimpses of fleeting perfections, drawn of the elemental palette.
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David KELLY
Berri Werri Track Oil & Acrylic on Board 100 x 50cm DK1302011
Images that found their form in response to moments of rest. Hot days walking the trails and resting in the shade. Drinking cool water and listening to the silence of paused footsteps. Intimate glimpses of fleeting perfections, drawn of the elemental palette.
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David KELLY
Berri Werri Track Oil & Acrylic on Board 100 x 50cm DK1302012
Images that found their form in response to moments of rest. Hot days walking the trails and resting in the shade. Drinking cool water and listening to the silence of paused footsteps. Intimate glimpses of fleeting perfections, drawn of the elemental palette.
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David KELLY
Berri Werri Track Oil & Acrylic on Board 100 x 50cm DK1302013
Images that found their form in response to moments of rest. Hot days walking the trails and resting in the shade. Drinking cool water and listening to the silence of paused footsteps. Intimate glimpses of fleeting perfections, drawn of the elemental palette.
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David KELLY
Berri Werri Track Oil & Acrylic on Board 100 x 50cm DK1302014
Images that found their form in response to moments of rest. Hot days walking the trails and resting in the shade. Drinking cool water and listening to the silence of paused footsteps. Intimate glimpses of fleeting perfections, drawn of the elemental palette.
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Bush Track 3 Oil & Acrylic on Board 40 x 120cm DK1206008
David KELLY
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The Warmun series of paintings were undertaken initially whilst in residence with artists of the Warmun Art Centre. Flying from Darwin to Kununurra, views of the serpentine Ord River cutting through the vast North-West left a lasting impression and integrated with the experiences of the month to follow. At ground level, the landscape of the East Kimberley was no less spectacular than from the air. Through extremes of weather, the meeting of earth, sky and water in a fusion of colour and texture provided visual stimuli of great potency. There are references to these initial aerial impressions with their cartographic perspective in the Bush Track works. Amongst the organic unions in these paintings, there appear linear symbols of emerging and disappearing bush tracks as they cross and follow the life giving creeks and water holes.
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Bush Track 4 Oil & Acrylic on Board 40 x 120cm DK1206009
David KELLY
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The Warmun series of paintings were undertaken initially whilst in residence with artists of the Warmun Art Centre. Flying from Darwin to Kununurra, views of the serpentine Ord River cutting through the vast North-West left a lasting impression and integrated with the experiences of the month to follow. At ground level, the landscape of the East Kimberley was no less spectacular than from the air. Through extremes of weather, the meeting of earth, sky and water in a fusion of colour and texture provided visual stimuli of great potency. There are references to these initial aerial impressions with their cartographic perspective in the Bush Track works. Amongst the organic unions in these paintings, there appear linear symbols of emerging and disappearing bush tracks as they cross and follow the life giving creeks and water holes.
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Bush Track 5 Oil & Acrylic on Board 40 x 120cm DK1206010
David KELLY
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The Warmun series of paintings were undertaken initially whilst in residence with artists of the Warmun Art Centre. Flying from Darwin to Kununurra, views of the serpentine Ord River cutting through the vast North-West left a lasting impression and integrated with the experiences of the month to follow. At ground level, the landscape of the East Kimberley was no less spectacular than from the air. Through extremes of weather, the meeting of earth, sky and water in a fusion of colour and texture provided visual stimuli of great potency. There are references to these initial aerial impressions with their cartographic perspective in the Bush Track works. Amongst the organic unions in these paintings, there appear linear symbols of emerging and disappearing bush tracks as they cross and follow the life giving creeks and water holes.
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Turkey Creek 1 Oil & Acrylic on Board 40 x 120cm DK1206001
David KELLY
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The Warmun series of paintings were undertaken initially whilst in residence with artists of the Warmun Art Centre. Flying from Darwin to Kununurra, views of the serpentine Ord River cutting through the vast North-West left a lasting impression and integrated with the experiences of the month to follow. At ground level, the landscape of the East Kimberley was no less spectacular than from the air. Through extremes of weather, the meeting of earth, sky and water in a fusion of colour and texture provided visual stimuli of great potency. The Turkey Creek paintings merge aerial and ground level perceptions of the skies and creeks that bring brooding clouds and flooding waters.
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Turkey Creek 2 Oil & Acrylic on Board 40 x 120cm DK1206002
David KELLY
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The Warmun series of paintings were undertaken initially whilst in residence with artists of the Warmun Art Centre. Flying from Darwin to Kununurra, views of the serpentine Ord River cutting through the vast North-West left a lasting impression and integrated with the experiences of the month to follow. At ground level, the landscape of the East Kimberley was no less spectacular than from the air. Through extremes of weather, the meeting of earth, sky and water in a fusion of colour and texture provided visual stimuli of great potency. The Turkey Creek paintings merge aerial and ground level perceptions of the skies and creeks that bring brooding clouds and flooding waters.
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Turkey Creek 4 Oil & Acrylic on Board 40 x 120cm DK1206004
David KELLY
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The Warmun series of paintings were undertaken initially whilst in residence with artists of the Warmun Art Centre. Flying from Darwin to Kununurra, views of the serpentine Ord River cutting through the vast North-West left a lasting impression and integrated with the experiences of the month to follow. At ground level, the landscape of the East Kimberley was no less spectacular than from the air. Through extremes of weather, the meeting of earth, sky and water in a fusion of colour and texture provided visual stimuli of great potency. The Turkey Creek paintings merge aerial and ground level perceptions of the skies and creeks that bring brooding clouds and flooding waters.
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David KELLY
Eucalypt Bark on Card #1 Oil & Acrylic on Card 100 x 30cm DK1304003wp
Contrasted against the grandeur and massive presence of the mature eucalypt lies the strewn bark at its feet. Transient sheets of paper torn from a great book of experience that fall lightly and disappear underfoot in a season. Delicate colours fade and edges become brittle. The flaking stories return to the earth and are regenerated next summer, and retold.
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David KELLY
Eucalypt Bark on Card #2 Oil & Acrylic on Card 100 x 30cm DK1304004wp
Contrasted against the grandeur and massive presence of the mature eucalypt lies the strewn bark at its feet. Transient sheets of paper torn from a great book of experience that fall lightly and disappear underfoot in a season. Delicate colours fade and edges become brittle. The flaking stories return to the earth and are regenerated next summer, and retold.
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David KELLY
Eucalypt Bark on Card #3 Oil & Acrylic on Card 100 x 30cm DK1304005wp
Contrasted against the grandeur and massive presence of the mature eucalypt lies the strewn bark at its feet. Transient sheets of paper torn from a great book of experience that fall lightly and disappear underfoot in a season. Delicate colours fade and edges become brittle. The flaking stories return to the earth and are regenerated next summer, and retold.
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David KELLY Bachelor of Education – Fine Art Current candidate: Masters of Visual Art by studio based research, University of South Australia
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David Kelly has been a visual art teacher and artist in Australia and South East Asia since the early 1980s, his work featuring in private, corporate, consular and national collections both internationally and within Australia. His paintings have also featured in local and international award exhibitions, including the 2004 Artiade Olympics exhibition in Athens, as joint representative of Australia. More recently he has been selected as a finalist in several national award exhibitions, including the ‘Waterhouse’ [2007 & 2010], ‘City of Albany Art Prize’ [2008 & 2009], ‘Redland Art Award’, ‘Paddington Art Prize’, ‘Blake Prize’ Directors Exhibition and ‘SALA Contemporary Art Award’, as well as the ‘Heysen Prize for Interpretation of Place’ 2012, which he was awarded in 2008 by Australian author and critic, Susan McCulloch. He exhibits regularly in solo and collaborative projects in Australia and internationally. “…My points of reference shift from one extreme to another, looking at the intimate detail of seemingly insignificant forms to the alienating enormity of vast horizons. These observations are made in places of personal significance. Places I have lived and travelled, considered as my home, experienced alienation and perceived insignificance; places that have informed my character. The paintings that have emerged are, in a physical sense, reflections on the transformative face of natural growth and decay; the changes that evolve on the surfaces around us through the course of a day, a season and a lifetime. They celebrate the effects of sun, wind, water and time, in their endless cycles. The means by which I create these painted images is in itself a small scale harnessing of elemental processes. Rather that setting out to create an image ‘of ’ the figurative landscape that inspires me, I seek to tell something ‘about’ my emotional involvement, building on the recollection of memories, often from many years past. I refer to these mental images because they have been distilled by time to the essential and form part of an amalgam blended with emotion and imaginings which owe nothing to a single observed source. From this font springs the practical engagement with heat, wind, confluence, textural growth and abrasion on the painting surface. While the outcomes bear varying levels of similarity to eucalyptus trunks, earthen vistas, serpentine river beds, estuarine confluence and laden skies, they are unique products of actual elemental processes more than painted images of the landscape. In many ways, the artistic process is involuntary. It is a response that comes inevitably and without contrivance. The tangible works are a fusion of innumerable influences,
most of which defy identification but that provide some kind of summary that others can observe. Just what they see is also subject to many variable factors but it is the telling of the story that is important; the act of sharing and creation of potential for others to add to their own depths of experience. In isolation, my work could be viewed as somewhat obscured postcards from my travels through life; a collection of landscape idylls with soothing aesthetics. However, to simply view them as such is to neglect the letter written on the other side. The work is not just about what I have seen, but a story of my life experience, relationships, emotions and challenges, expressed through the complexities of the elemental kaleidoscope, as life’s metaphors…”
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Solo Exhibitions 2013 ‘Layers of Time’ - ReDot Fine Art Gallery, Singapore 2011 ‘Essence of Eucalypt’ - The Atrium Gallery, Australian High Commission, Singapore 2010 ‘Tuol Sleng - silent walls’ - eye2eye Fine Art Gallery, Adelaide SA 2008 ‘Eucalyptus’ - eye2eye Fine Art Gallery, Adelaide SA 2008 ‘Landmarks’ - Santos Centre, Adelaide SA 2007 ‘Recent Work’ - Greenhill Galleries, Adelaide, SA 2005 ‘Earthworks’ - Australian High Commission, Bandar Seri Begawan, Brunei Darussalam 2004 ‘Sungai’ - Alliance Francaise de Brunei Darussalam, Bandar Seri Begawan, Brunei Darussalam 2003 ‘Horizons’ - Australian High Commission, Bandar Seri Begawan, Brunei Darussalam
Joint Exhibitions 2013 ‘Confronted’ - with Rita Hall Light Square Gallery, Adelaide College of the Arts SA 2012 ‘Warrangarim’ - [Gija: meeting] - with Gordon Barney CCAE, Darwin, NT
Selected Group Exhibitions 2013 ‘Celebrating Australian Creativity in Singapore’ - The Atrium Gallery, Australian High Commission, Singapore 2012 ‘Heysen Prize for Interpretation of Place’ - Hahndorf Academy, SA 2011 ‘Intangibles in Terra Australis’ - Flinders University Art Museum, Adelaide SA 2010 The Blake Society - Director’s Cut Exhibition 2010 ’The Waterhouse - selected works’ - National Archives of Australia, Canberra ACT 2010 ’The Waterhouse’ - South Australian Museum, Adelaide SA 2010 ‘Intangibles in Terra Australis’ - Sala kubo-kutxa San Sebastian, Spain [ ArtsSA ] 2010 ‘The Heysen Trail Exhibition’ - SA 2009 ‘Paddington Art Prize’ - Sydney NSW 2009 ‘City of Albany Art Prize’ - Albany WA 2008 ‘Heysen Prize for Interpretation of Place’ - Hahndorf Academy, SA winner 2008 ‘Redland Art Award’ - Brisbane QLD 2008 ‘City of Albany Art Prize’ - Albany WA 2008 ‘Macquarie Fine Art Exhibition’ - invited artists 2007 ’The Waterhouse’ South Australian Museum, Adelaide SA 2005 ‘Boat’ - EmpireArt Gallery, Empire Hotel and Country Club, Bandar Seri Begawan, Brunei Darussalam 2004 ‘Artiade 2004 - Visual Arts Olympics’ - Tsalapatas Exhibition Space Volos - Athens, Greece 2004 ‘Art Forum - Brunei’ - National Gallery, Bandar Seri Begawan, Brunei Darussalam 2004 ‘Citibank Exhibition’ - Li Gong Exhibition Space, Bandar Seri Begawan, Brunei Darussalam 2004 ‘Local Colour’ - Empire Hotel and Country Club, Bandar Seri Begawan, Brunei Darussalam 2003 Rainforest Gallery - inaugural exhibition - Bandar Seri Begawan, Brunei Darussalam 1988 ‘Culture works’ - Universidad de Cordoba - Cordoba, Argentina 1988 Workshop exhibition - Mendoza, Argentina
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Residencies Warmun Art Centre - Turkey Creek, WA
April 8th - May 7th 2012
Collections National Gallery, Brunei Darussalam Australian High Commission, Brunei Darussalam BHP Billiton, Phnom Penh, Cambodia Santos, Adelaide Pinsent Masons MPillay LLP, Singapore University of South Australia - SA School of Art Private collections in Australia, South East Asia, Europe, USA and South America
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TOP A view of Kimberley Country - Warmun Residency; 2012 LEFT Close up of mature Eucaplyt. ABOVE Close up of work in progress – Confluence 1; 2013
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