Monthly Archives: November 2014

‘For Amanda Walker’ – Australian Womankind Magazine: Searching for your future self

Australian Womankind Magazine: Searching for your future self (Launch Issue)
Issue 1: August – October 2015

For Amanda
When I was a little girl, I had the most spiritual experience of my life. To this day it brings tears to my eyes and yes I mean now whilst I am typing this up at 34 years of age. I should mention here my happy atheist upbringing yet with a grounding on western religious values.


Birthday girl in white looking at the camera is me…to my left in the red headband – Amanda Walker

img172 img173

Amanda and I were just 7 years old, I can remember this fact as for years I have rediscovered my little envelope kept in storage only to cause me to stop in my tracks at every house move and reflect. This envelope has a photograph of Amanda at my 7th birthday, a huge event in my life as a small person as it was the only birthday party I experienced until my 21st. With this treasured possession is a school diary-like booklet we were encouraged to keep at school and write in on Monday’s to share our weekend escapades at the very least. This has an excerpt in it about Amanda written by my 7 year old hand and two articles ripped out of the local paper by mum and dad and given to me within the year of this experience.

img170 img169
Amanda and I were in my Liverpool backyard playing around the above ground pool in our swimmers. She wore a navy blue one piece…I have no idea what costume I wore. We watched in wonderment as the first butterfly appeared. She put out her index finger and I was transfixed as I watched it alight upon this perch. As if this was not incredible enough already we giggled and equally hushed as more and more butterfly’s descended and landed on her costume. The light was around her, she was taller than me everyone was taller than me, so I had to raise my eyes which caused the light to pool around her face and shine through her brown hair. The butterflies just paused there covering her for a few moments and then one by one lifted off and floated away towards the light of the sun.


Natural Focus Photography – Jason Lindsay
I have always felt a chill when a butterfly appears a little too close for comfort toward anyone I love. A cousins wedding was particularly heinous as the happy couple opened a box, after their I do’s, and let out two butterflies who thankfully ascended up and away from the crowd of people I love. When I finally sighed out my relief and relaxed my neck from its unlikely angle, I found myself backed away from the other bridesmaids by several feet.


Paul Jackson, Jo 2013, (
Paul Jackson’s, Archibald 2013 finalist painting, Jo, caused another physically sickening reaction and had me backing away and into other viewers. ‘Jackson’s subject is Joanna Braithwaite, an artist known for her exploration of the interrelationships between animals and humans. She frequently combines objects, animals and humans in unexpected ways.’ ¹ In this painting however, Jo herself sits upon a corpse like figure of a human/beast its dead statuesque face staring unseeing directly toward the viewer and with body almost entirely covered by butterflies. More butterflies seemingly descend from the one gap in the clouds above and behind the foreground scene. Appearing to have originated or as born from or of the sun. The other surreal animal goings on in this image for me are only subliminal or act to emphasize the strangeness of my memory alignment to this image.


My associations of butterflies with death have always fascinated me. Here is a creature that is so unlike any other and which before my childhood friend was lost to me, was amazing for completely alternative reasons. Womankind magazine’s launching issue, Searching for Your Future Self, challenged my established discomforts with this innocent insect in a variety of ways. Firstly, the cover design by Tsevis Charis is a portrait of a woman made up of thousands of colourful butterflies somehow collaged perfectly to inform the contours of a face. I wanted this magazine, I knew right away that I wanted it but of course picked up the second edition properly and only held the first between index and thumb by the corner as though it might rear up and sting me.

After two years of university and a personal awakening attributed by new expansive knowledge and the associative questioning of my place and future in this world and indeed the Australian arts industry, have prepared me well for this magazine. I decided to suck it up. I would read the launching edition and reward myself with the second later, once I had read the first from front to back. I am half way through and compelled to write already. I felt it build and build and could not hold back any longer once I had read DBC Pierre’s article ‘Kismet’. In this article Pierre goes there, he unashamedly writes about a project with photographer Tobias Wenzel which situates writers at cemetery’s and in Pierre’s case, halfway inside a dug-out grave. The placement of this article within this butterfly themed magazine edition was just too potent to ignore as was his Mexican upbringing outlining the inherent fascination with death and oftentimes superstition and his thesis idea of Kismet, chance and coincidence.
My recent experiences of Kismet almost always involve reading. Chris Kraus, ‘I love dick’ (1997), Maura Reilly selected texts and I suspect Simone de Beauvoir, ‘The Second Sex’ (on order). So, ‘Searching for your future self’ is really well timed as indeed is Womankind magazine for this thirty something year old woman. Learning that intellect is the most attractive gift one can cultivate for herself and that it is not impossible to consider an affiliation with butterfly’s from a transformation perspective.

Leave a comment

Posted by on November 26, 2014 in REVIEWS


Katherine Kennedy, Tearing & Tearing (study), 2014


sorry about the quality of these photos

The initial Proposal:

Tearing & Tearing (study), as a proposed artwork will expose the two separate and yet linked meanings of the one word ‘tear’. Firstly to tear is to pull apart, into pieces by force, to make (an opening) by ripping, laceration, to separate forcefully, wrench, divide or disrupt. The second ‘tearing’ refers to a drop of the clear salty liquid that is secreted by the lachrymal gland of the eye to lubricate the surface between the eyeball and eyelid and to wash away irritants. Or more significantly, ‘tears’, a profusion of this liquid spilling from the eyes and wetting the cheeks, especially as an expression of emotion in the act of weeping. Interestingly, some definitions cross over to describe the ripping tear with an emotional aura such as; to become torn and distress greatly. Apply this to intimate relationships and we see yet further evidence of emotive meaning, to move with heedless speed; rush headlong or at an end of said relationship; to remove (oneself, for example) unwillingly or reluctantly or even to demolish, tear down, and disassemble. In a nasty relationship breakup there is even a tear to vilify, denigrate or attack with great vigor or violence. ¹

In the proposed image, a female figure will actively rip away her environment from the bottom left of the composition so the torn paper will be held by her two dimensional hands. The torn Tabaimo inspired wallpapered background sheet of her environment will reveal yet more patterned wallpaper design. The void from the tear will reveal a third printed surface of Pat Steir inspired splashes. The mediums employed are collograph prints with viscosity rolls and chine colle for the patterned wall-paper-like surfaces. However relief printing will also be presented in the form of the silkscreen portrait in 2-4 colour layers and the backing sheet splashes will be achieved with single layer silkscreen also. The format is a study of a much larger work yet to follow but will be bleed-printed on the one large sheet in a grid-like format hanging as a vertical rectangle.

Finished Work:

The three pieces were hung on a string evocative of a clothes line…Again the inside/outside recurring motif appears and quite by chance…its an extremely amateur way to hang work but I decided to leave it for its clear reference to the domestic. The center work was intended as the final piece with the two flanking artworks as studies. I decided to present all of them as they were somewhat resolved on their own.




Tabaimo, Wall Paper, 2004


Tabaimo’s ,Wallpaper 04, 2009. Lithograph, screen print, flocking and acrylic piece as a detail of a much larger body of work spanning multiple disciplines, has inspired a response lasting the entire year thus far (see presentation for last semester work). This exploration is a continuation of personal and student work although the aesthetic this time is more directly aligned to hers. The theoretical and critical issues that underpin her work include ‘the domestic sphere and the human body as mundane sites which in fact conceal surreal, comical, and grotesque goings-on. For Tabaimo, they are sites that must be excavated, with layers peeled away, to reveal the truth of what lies beneath the polite surface. Exposing a dense network of veins, vessels, and organs pulsating underneath its smooth façade.’ ² There are many similarities between the proposed work and Tabaimo’s domestic aesthetic through repeated patterning and ripping elements however her biological interest with the vein-like printing revealed on the underside of the top layer is absent in my work.
Pat Steir makes her marks by ‘flinging, pouring, and dripping paint. Images of waterfalls resulted naturally from this approach. Steir has said that she makes her work with the attitude of a gymnast, “first the meditation, then the leap.” ³there is definitely a metaphysical/universal quality to her work and has even been linked to Ancient Greek Philosophy through ‘philosopher Heraclitus, you can’t step into the same river twice. This aphorism might apply to Pat Steir’s series of waterfall prints as well; although her approach is similar in all of them, each is unique’. ⁴ Interestingly, an existing image made in 2012 during student painting experimentations is extremely similar to Steir’s work. I will follow her process of turning this image into a negative and exposing it onto a silkscreen.
An approach to the domestic subject in Tabaimo and the waterlike reference in Steir’s work have distinct similarities in both subject and aesthetics to my proposed piece. Although the intentions of each artist differs in content and crucial theoretical frameworks it will be clear in the final work, that inspiration emerged from research into these two women. It should be noted however, that I sought these artists out due to their relationship to my existing practice, thematic, and recurring motifs within the emotive and domestic spheres.


Leave a comment

Posted by on November 13, 2014 in PRINT MAKING



Assessment 2: Mixing Your Metaphors Miss-Communication, 2014, Katherine Kennedy 1526874_10203197470798085_4728590591830784945_n This task encouraged interdisciplinary practice further to printmaking such as digital and photographic processes, craft, found objects and installation and also incorporated innovative methods. Alternative substrates and matrix based printing methods in the final work effect the reading of the work as derived from the shared dialogue between the methods and materials utilised, the action of making (Cooking, sewing, connecting and creating) and the printed image itself. The obvious printmaking method engaged in the final work is silk-screen. However an unconventional print method was discovered earlier this year using red and white wine soaked facial tissues and heat. The use of wine and tissues as materials and cooking as a method of imprinting upon the facial tissues (random marks from faint to burnt) is an example of how a process communicates meaning such as emotional navigation and when combined with the images of women in aprons working, we sense the domestic. Domesticity is further evidenced by the curtain as substrate fashioned out of these facial-tissue-heat-prints. Also relevant are the notions of chance, expectations, failure and navigation. This work is a development upon an earlier piece, Emotional Barrier, 2014, whereby a barrier can be interpreted as a physical presence to block or impede or as a reflection of miscommunication. The formation of a physical barrier, albeit a whimsical one, is significant and has been extended from the initial thin suspended piece to almost 8 metres wide. Where Emotional Barrier was installed in a university hallway impeding pedestrian traffic to and from the studio space and forcing people to walk around it, Miss-Communication differs for its installation location as a little used, out of the way space. It is therefore experienced at a remove, intended as serene reflection, to walk amidst or view from afar. Three silkscreen printed female figures have been repeated to pass on a telecommunication cable from one woman to the next. This one woman is every-woman as she both handles and personifies a life-line. Circular stretched substrate skins also suspend from cable before the curtain in the upper half of the composition. The use of Cable and Cable-ties are symbolic of communication and an aura of disenchantment hangs with the curtain due to the blindfolded women, aproned as though shackled, the burning and the morphing of woman with her environment. However, beauty is found in this surface which allows the light to paint and reveal subtleties within the substrate. 1522335_10203197478518278_5577354503589064618_n 10390255_10203197490438576_6267457328546084767_n 10649102_10203197473518153_1527362028480587391_o 10806374_10203197492718633_5742507516440955809_n 10380220_10203197483038391_364373458621415453_o 10671455_10203197469918063_4314078778935104525_n


Sassafras Creek Exhibition: Penny Oates – ‘Expressions in Ink’


Solo Show: Penny Oates, Expressions in Ink

This 11 week exhibition is open from 28 November, 2014 to 13 February, 2015

Opening event: Sunday 30 November 2014

Guest Speaker: Diana Robson, Director Hawkesbury Regional Gallery & Museum

Gallery Installation_Sassafras Creek Food & Design, Kurrajong Villiage

Gallery Installation_Sassafras Creek Food & Design, Kurrajong Villiage

About the Artist: Local artist Penelope Oates has an upcoming solo exhibition, Impressions in Ink to be shown at Sassafras Creek Food and Wine, Kurrajong Village, which officially opens Sunday 30 November 3pm to 5pm. Penelope has a diverse and interesting background in the arts having completed a BA of Fine Arts at COFA and a Bachelor of Dramatic Art in Design at NIDA where she also studied stage and costume design. She completed her Diploma of Education in Visual Arts early on kick-starting her career as a teacher but has always been working creatively in various freelance design roles as well such as work for the theatre, concept illustration, educational book illustration and more.

The lovely Penelope Oates

The lovely Penelope Oates


For the past 15 years Penelope has devoted much of her time to teaching high school students of varying ages different techniques and approaches towards the visual arts. More recently however, she has been able to devote more time to developing her own practice alongside her husband Darren, an established designer and maker of fine furniture. Together they have set up a small gallery space/studio, Bellbird Studios, for the public to view their works as part of the Hawkesbury artist and artisan trail. Impressions in Ink is open for viewing 28 November 2014 to 13 February, 2015. Samples of Penelope’s work can be found on the following website under Bellbirds Studios

Penny Oates_Sassafras Creek Food & Design_Kurrajong Village

Penny Oates_Sassafras Creek Food & Design_Kurrajong Village

Leave a comment

Posted by on November 11, 2014 in COMMUNITY


(OPENING NIGHT) WED 5 NOV 6-8PM ‘BOUND’ @ Chrissie Cotter Gallery


The Chrissie Cotter Gallery is located in Pidcock Street, Camperdown (see map below), next to the Camperdown Bowling Club. Since 1996, Marrickville Council has provided the gallery to individuals and organisations for exhibitions and cultural events.

Cotter Flier

Chrissie Cotter & Monster Mouse present: Bound

5 November – 16 November

Bound will showcase some of the many talented artists involved in Monster Mouse Studios.
The Exhibition will weave together their responses to what it is to be bound. Tied into this will be curated parts of our program running in the Gallery space to expose the diverse range of activities that bring people into the knot at Monster Mouse.

Participation in the local community will be encouraged through our yoga classes, film screenings and workshops from Thursday to Sunday.

  • Gallery hours: Thursday to Sunday, 11am–5pm
  • Opening night: Wednesday 5 November, 6–8pm
  • Email:
  • Or search for Monster Mouse Studios on Facebook for more details.

The Work: “Telegraphic Collaboration” 2014 – ongoing.
Telegraphy requires that the method used for encoding a message be known to both sender and receiver and as artists inherently understand visual language, I have collaborated with an artist whom I have met and approached/pitched the idea to (current collaboration), and a number of unknown artists from other cultures (ongoing). These two different approaches explore an interest in the absence of person to person interaction. The original work by me (Katherine Kennedy) is a puzzle complete with hidden messages and can be re-assembled to emphasise its original design or mashed to focus in on a particular element, the recipient limited only by his or her own creativity. However the degree to which changes can be made varies from full access privileges (current collaboration) as opposed to following strict instructions (global interaction) which dictates no changes can be made to the surface of the existing prints.

10687411_10203005924769554_7695113735254395711_o 10703823_10203005936889857_4767200285629290876_n 10704375_10203005922889507_2708321471319433381_o

Collaboration with Thomas Michael Rae
The current approach involves, Thomas Michael Rae, UNSW Art & Design 2011 graduate. He has been provided with a complete package full of finished printed postcards, envelopes, twine and other packaging related papers. He has full access to alter this completed work in any way to arrange or improve them to his satisfaction. Notions of trust, chance and flirtation are hereby explored as are the boundaries of a ‘virtual’ or superficial knowledge of a person as opposed to what is learned in-person. It is the outcome of this exchange which informs this proposal to Monster Mouse & Chrissie Cotter Gallery with Thomas’s changes to my work to be displayed as the finished piece.

Still interested?….read on;

Telegraphic Collaboration considers the postcard and its functionality in a global sense and particularly the impacts of telegraphy upon both the land (in a connectivity sense) and also human emotions (emphasising this and other forms of disembodied communication). The postcards juxtapose past and contemporary imagery with a distinctive nostalgic aesthetic. This archival aesthetic will be interjected by familiar emoticons which frequent social media to express human emotion and will be positioned as postcard stamp and a general layer.

1606385_10203035931799711_5552841428747305705_o  PCARD  10708702_10203035928479628_7394813758267164601_o

There is much more contextual information which goes with this project…but if it goes well…I can use that later on in a book once I have all of the collaborative images back from overseas.

Leave a comment

Posted by on November 4, 2014 in EXHIBITIONS


SHOW CLOSES 28 NOVEMBER 2014: Joy Myers Creed – Sassafras Solo

Sassafras full logoJOYMYERSCREED168

Exhibition of Art by Joy Myers Creed: From Life to Abstraction

Sassafras Creek Food and Design: 83 Old Bells Line of Road, Kurrajong Village

22 October to 28 November 2014

Restaurant open between 9am and 5pm (closed Mondays)


The quality of these photos are very poor and I do advise you see them in person.

1743695_10203234137314725_4392597430858722138_n 10501718_10203234132994617_6146148621541881293_n

10502401_10203234139914790_681879767112396332_n 10649431_10203234134914665_8094435957291455354_n

10708581_10203233774625658_8901836938738886619_o 10805644_10203233768545506_3130537073412381347_n

About the Show

True to form, Joy Myers Creed has put together a show within a tight hanging deadline like the true professional she is. Joy says; This is my tenth one person exhibition and I’m delighted to be able to have this at Sassafras Creek Food and Design. I’ve learned more about Kurrajong Village through my association with this well named restaurant and its manager Joe Lee. This venue and setup for exhibiting artists is a winning combination.

Joy has extensive solo and group show experience and is a well known local artist in the Hawkesbury, Blue Mountains and Nepean regions. Joy lends us a selection of her mixed-bag works to grace the walls of Sassafras Creek Food and Wine. After Joy’s exhibition will be the first curated show by myself, emerging curator Katherine Kennedy of another local treasure Penny Oates, as a wonderful show yet to come over the Xmas and New Year period which is extremely exciting and will have an opening event that you will all be formally invited to attend shortly.

Joy loves Sassafras and is pleased to have helped out with this interim show and asks you all to; Please come and see my stuff and enjoy the viewing inside as well as the view of the area outside. The food and coffee are great, my mobile number is 0422088741, let me know what is your experience. Joy Myers Creed

Enjoy the show and please do forward this invitational blog to all of your interested associates.

Leave a comment

Posted by on November 2, 2014 in COMMUNITY