Hazelhurst Art on Paper Award 2019 - Finalist
A Field Guide To Reality, 2018-19, pencil, ink, acrylic and posca pen on paper (detail)
Hazelhurst Arts Centre,
Sat 21 Sept - Sun 17 Nov 2019
Fisher’s Ghost Art Award 2019 - Finalist
Saturday 26 October - Thursday 5 December 2019
Campbelltown Arts Centre, NSW
Multiverse 1, 2019, acrylic, aerosol and oil on canvas, 100 x 100cm
The Land Of The Green Ghosts
15th - 25th June 2019
Broadhurst Gallery, Hazelhurst Arts Centre
782 Kingsway Gymea NSW 2227 P 8536 5700 10am-5pm daily
This collaboratively conceived exhibition explores the many subtle and complex layers of the natural world through the unique perspectives of three contemporary female painters, Naomi Bishop, Kathryn Cowen and Valentina Palonen. Each artist hopes to offer a new standpoint of the natural world, and the issues facing it, and are unapologetically driven by a subjective response to both landscape and to painting practice. While each artist has her own approach – albeit psychological, spiritual, or environmental – they each surrender to the sensuous materiality of paint and allow process-based practice to take precedence.
The artists present canvases saturated with the colours of implied bioluminescence, aurora borealis and other natural wonders. It is this sense of wonder the artists wish to share with the viewer, a world renewed, seen afresh, without the constraints of rationality or the pervasive mundane. They put no stock into the expected, the accepted, and the regurgitated; but stalwartly embrace painting as an avenue to discovery. They come together to explore our connection to the environment and the different ways that we perceive it in this time of grave ecological change.
The artists invite you to delve into ‘The Land of The Green Ghosts’.
Movers and Shapers Exhibition
Broadhurst Gallery, Hazlehurst Regional Gallery and Arts Centre
Sat 25th August - Tues 4 Sept
Interview with Andrew Frost
The Art Life
14 March 2018
107 Redfern St Redfern NSW
opening: Wednesday 14th March, 6-8pm
exhibition dates:14-25 March 2018
SLOT window gallery
38 Botany Rd Alexandria NSW
2 Dec 2017 - 6 Jan 2018
To Hill End and Beyond
Hazlehurst Regional Gallery and Arts Centre, NSW
2 - 12 September 2017
The Corner Store Gallery, Orange, NSW
Thu, Jun 29 - Sun, Jul 16, 2017
Fisher's Ghost Art Prize 2015
Campbelltown Art Centre, NSW
The Faraway Nearby
3rd - 20th June 2015
191 Wilson St Newtown NSW 2042 Australia
0425 253 476
The disciplines of art and science – at times almost indistinguishable, and at others irreconcilable – are twin avenues in the very human search for underlying patterns, substance and meaning. Where the two often diverge is in the nature of the conclusions they seek: science gives the impression of moving inexorably towards a logical endpoint, a complete unravelling of the mysteries of the universe; art tends to revel in the inherent un-knowableness of things.
In her paintings, Kathryn Cowen employs a recognisably scientific vernacular. Her subjects include a hazmat-suited figure probing a pulsating vortex; a man with wood-and-fabric wings outstretched like Icarus, testing an early flying device; people in lab coats huddled over imaginary desks and microscopes; figures shrouded in viewing and protective devices that are equal parts nostalgia, science and steampunk. Scientific hypotheses are often wildly imaginative and creative, and Cowen’s poetic treatment of imagery, sourced and re-configured from a combination of New Scientist magazines and vintage photographs, points to a fundamental human pursuit of meaning and connection beyond the realm of the visible.
Cowen creates environments with ‘washes’ and ‘pours’ that are equal parts intent and chance, and augments them with the addition of recognisable elements – plants, planets, figures, objects. Deep blues and purples are offset by bright accents of pink, orange and green. Thick speckles of these vibrant colours are often added at the end, suspended in resin on the surface of the canvas. Cowen avoids the potential slide into the saccharine with an intuitive counterbalance of these candied hues with darker grounds and uncanny imagery. There is a visual and perceptual oscillation between the materiality of paint and resin on canvas, and the depth of the celestial realms they infer.
Cowen doesn’t try to recreate the past nor foresee the future. Hers is another facet of the multiverse where the near past and near future coalesce, a theoretical realm where ideas are tested and explored. Where the optimism of early space exploration meets the dawning realisation that the earth is not the centre of the universe – not even the solar system – and we are orbiting in the dark in a vast and unknowable universe.
Rebecca Gallo, May 2015
ICAA 2014-Take Home Archive
5 Eliza St Newtown
22 December 2014
A-M Gallery Represented Artists
5-25 October 2014
A-M Gallery Newtown
"Kathryn Cowen’s small-scale paintings are populated by mysterious, often lonely figures. These characters exist within ethereal expanses of sky where thickly-laid acrylic gives way to watercolour-like washes of colour and constellations of droplets. Cowen’s paintings allow the viewer space to imagine what ancient or futuristic fable these players may have drifted from" Chloé Wolifson, 2014
Finalist in the Lethbridge Small Scale Art Award 2014
14-29 June 2014
Lethbridge Gallery, Brisbane
Tall Tales and True
9 Oct - 2 Nov 2013
Opening 9 Oct, 6-8pm
191 Wilson St
Newtown NSW 2042
Review posted by Andrew Frost, October 4, 2013 on "The Art Life"
In the eternal battle between painting and photography it would seem that by sheer weight of numbers photography has the edge. But for all the things that photography can do, painting has a different kind of material presence, one that ensures that these related media can never really be the same thing.
In Kathryn Cowen’s Tall Tales And True, the artist has embarked on an expedition to the other side to mine a trove of personal, family and archival images as source material for her richly surfaced paintings. The paintings present images that are instantly recognisable as ‘photographic’ in their scale and flattened perspectives, yet Cowen brings a discerning sense of restraint in her translation, an act that adds the sorts of ambiguities that only painting can produce.
In Unknown Entity, Cowen sparing use of paint and ink on linen lets the canvas stand in for background while a running drip of yellow paint playfully addresses the line between abstraction and representation. A sequence of Cowen’s paintings bathe their central figures in an infinitude of painterly space: The World Beneath and The Intergalactic Pancake Express cast their characters adrift in a rich blue-black spattered with white dots. Stargazer, perhaps the hero picture of the show, is unashamedly nostalgic, a poster child for the artist’s mix of here and there.
October 9 to November 2
A-M Gallery, Newtown