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Upcoming events for Sydney based artist Kathryn Cowen

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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

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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

https://www.sutherlandshire.nsw.gov.au/Community/Hazelhurst/Exhibitions/Broadhurst-Gallery/The-Land-Of-The-Green-Ghosts

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’.

Chrissie Cotter Gallery Pidcock St Camperdown NSW 2050

Chrissie Cotter Gallery Pidcock St Camperdown NSW 2050

Movers and Shapers Exhibition

Broadhurst Gallery, Hazlehurst Regional Gallery and Arts Centre

Sat 25th August - Tues 4 Sept

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Interview with Andrew Frost

The Art Life

14 March 2018

https://theartlife.com.au/2018/interview-kathryn-cowans-gardens-of-wonder/

Future Past

107

107 Redfern St Redfern NSW

opening: Wednesday 14th March, 6-8pm

exhibition dates:14-25 March 2018

http://107.org.au/event/future-past/

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#otherworlds

SLOT window gallery

38 Botany Rd Alexandria NSW

2 Dec 2017 - 6 Jan 2018

http://slotlog.blogspot.com.au/2017/12/kathryn-cowen.html

#otherworlds, 2017, ultraviolet light, posca pen, acrylic, fluorescent and aerosol paint on board, 1.5 x 2m, installation view

#otherworlds, 2017, ultraviolet light, posca pen, acrylic, fluorescent and aerosol paint on board, 1.5 x 2m, installation view

 

To Hill End and Beyond

Hazlehurst Regional Gallery and Arts Centre, NSW

2 - 12 September 2017

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Portraits

The Corner Store Gallery, Orange, NSW

Thu, Jun 29 - Sun, Jul 16, 2017

 

 

 

 

Kathryn Cowen,  Dahlia , 2015, acrylic and ink on linen, 25.4 x 20.3cm

Kathryn Cowen, Dahlia, 2015, acrylic and ink on linen, 25.4 x 20.3cm

 

Fisher's Ghost Art Prize 2015

Campbelltown Art Centre, NSW

Finalist

Kathryn Cowen,  Love In The Years of Lunacy , 2015, acrylic and oil on canvas, 120 x 100cm

Kathryn Cowen, Love In The Years of Lunacy, 2015, acrylic and oil on canvas, 120 x 100cm

The Faraway Nearby

3rd - 20th June 2015

A-M Gallery

191 Wilson St Newtown NSW 2042 Australia
0425 253 476
www.A-MGallery.com
info@A-MGallery.com

Gathering into Being, 70cm x 70cm, Acrylic, ink, polyurethane resin and oil medium on canvas, 2015

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

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5 Eliza St Newtown

22 December 2014

Kathryn Cowen, Time Slip, 2014, ink, acrylic and resin on canvas, 29 x 29cm


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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

Kathryn Cowen, Voyage of Return, 2014, ink and acrylic on canvas, 30.5 x 30.5cm

Kathryn Cowen, The Waiting Place, 2014, ink and acrylic on canvas, 30 x 40cm

Finalist in the Lethbridge Small Scale Art Award 2014

14-29 June 2014

Lethbridge Gallery, Brisbane

Kathryn Cowen,  Agent of Mystery , 2013, acrylic and ink on linen, 25 x 20cm

Kathryn Cowen, Agent of Mystery, 2013, acrylic and ink on linen, 25 x 20cm

 

Tall Tales and True

9 Oct - 2 Nov 2013

Opening 9 Oct, 6-8pm

A-M Gallery

191 Wilson St

Newtown NSW 2042

www.a-mgallery.com

Kathryn Cowen,  Stargazer , 2013, acrylic and ink on linen, 25 x 20cm

Kathryn Cowen, Stargazer, 2013, acrylic and ink on linen, 25 x 20cm

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

http://theartlife.com.au/2013/tall-tales-and-true/