Radio Interview – Kaye Green

Kaye Green will be interviewed on ABC radio National on Sunday morning between 10-11am if you’re near a radio. or if you want you can hear it here as the link is already up.

Kaye has been interviewed here and is currently in the midst of an exhibition based around her exploits at the Tamarind Institute in the USA. It’s at the Sidespace Gallery in Salamanca Place Hobart Tasmania. from Feb 25 – March 9 2010.

Pete Nawara – Artist

Pete Nawara is from Chicago Illinos in the USA. He has been painting since 2005, you can check his website at and his blog. He describes his work as work as figurative with a pop-art feel.

Interests you have other than art you feel are important to mention? I’m very intersted in Film, Music, & Illustration. I’m currently working on a script for a western film and illustrating a children’s book the I’m writing with the help of a good friend.

What are the main medium/s you work in… I generally work in acrylic with other mediums finding their way in. Gold leaf often makes an appearance. I like to be flexible with my materials, but not without making sure they are long lasting and used correctly.


Man in a Houndstooth Suit
[A Portrait of Nolan Farrell]
Acrylic on Canvas
64 x 52 Inches (162 x 132 cm)

Artist’s statement…

a. As an artist, I often find myself reading artists statements of various kinds.  Time and again, these writings consist of endless babble about what the artist thinks the viewer is interested in knowing about the work.  Usually, the artist is completely wrong about what these things are.  I do not claim to be any different.  In my original writings for this document, I will admit that I did my fair share of babbling, mostly about my concerns of the art world, i.e. Conceptual Art.

b. I have found myself in too many museums, completely bewildered by what artists are trying to say, and most of the time, completely disgusted by what they are getting away with.  Don’t get me wrong, I am aware of the important impact conceptual art had on art history, but the statements people are making today are commonly irrelevant to society, or if they do hold any significance, it is completely lost on the general public.  This isn’t even the worse part.  Usually, it doesn’t even look good.

c. I strive to make objects that are aesthetically pleasing. This, first and foremost, is my goal. I want to make a material thing that can be appreciated visually regardless of the viewer’s art education.  Why should someone need an art degree to understand or feel a connection with a piece of art. I feel that my place in the art world is a struggle against just that.

d. With the use of color and composition I attempt to create a visual landscape that allows the viewer to tirelessly view the work. Whether it’s a portrait, an abstract piece, something illustrative, a landscape, or a figurative piece, my primary focus is to assemble a combination of qualities, such as shape, color, and form, that pleases the aesthetic senses. Any conceptual message is inserted as a secondary device, usually for my own amusement.


A Portrait of Robert Schultz
Acrylic on Canvas
65? x 63?
165cm x 160cm

Does your work have social, political, cultural and or personal messages?

a. It’s about how we see ourselves. What aesthetic ideal do we hold when we’re observing ourselves, or just people in general? How would we look to someone if we were to display all our vanities for the world to see? How does our reflection relate to us? When viewing ourselves, there are certain imperfections that we are more aware of than an outside viewer might be. Isn’t it like that when artists look at their own work?

b. As humans, we have a certain obsession with reflections, and with seeing ourselves. Look at the world around us. How many mirrors do you see when walking down the street, in a hotel, or in someone’s home. People are constantly sneaking a peek at how they look in their new jeans by catching their reflection in the shop windows. In our cars, we have a rear view mirror and two side mirrors, but for some reason we still find a necessity to have a vanity mirror, often on both the driver’s side and the passenger’s side. The thought of a ‘vanity mirror’ to begin with is a funny concept. We look at ourselves in the reflections of car and bus windows. When we’re on the train, we use the windows to look at ourselves and other people. We are obsessed with the way people look.

What are you currently working on?

I’m currently working on a series of paintings that investigates the ideals of visual aesthetics in the western world titled ‘A Recipe for Beauty’.

How did you get into art?

One thing that I remember in detail was the first time I set foot into the art department of the school I transfered to in the 4th grade. It was the first time I had been to any art department, and it was amazing. My previous school had art classes which involved construction paper and Elmer’s Glue. This place had a metal shop, a wood shop, and some serious assignments. I really found my place here. I didn’t really fit in anywhere else, but once I set foot in the art room, I was on top of my game. One of our first assignments was to put on an entire puppet show, from the ground up.

I remember feeling that I should be officially in charge of the puppet design, a responsibility which I took with the air of an evil dictator. I was eventually put into detention for fighting with another student over the fabric to be used for alligators, and how naturally it should be plaid.

The puppet show was a smashing success, and although the thoughts of being an artist weren’t fully developed, the thoughts of being a professional puppet maker were very strong. I’m pretty sure that alligator still exists somewhere. He was beautiful, plaid, and some of my best work. My Pinocchio, if you will.


St. Anna
Mixed Media on Canvas – 2005
Sold – Private Collection – Paris, France

Was your education helpful, or a hindrance?

I feel incredibly fortunate that I was able to be exposed to the education I received. I would say it had a great influence on the artist I am today and I would not change it in any way.

Is there any one thing that has given you a big buzz in your art career so far? (Seeing your work in a particular collection etc…)

I was hired by a company to do live paintings touring the country with different rock bands for about two months. I was incredibly nervous at first, but my talents were received well and I gained an incredible confidence in my abilities.


St. Peter
Mixed Media on Canvas – 2004
Sold – Private Collection – Hawaii

What or who inspires your art?

People inspire me. Everyday people. I’ve always had this ‘dream’ of having a giant studio out in the middle of nowhere. A place that I could delve into my work with no distractions and no interruptions. No people knocking on the studio door or keeping me from my paints with half-hour chit-chats and small talk. I also quickly realised that this concept is not a possiblity for me. I thrive on social activity and being constant surrounded by people. I study them. I eavesdrop on their conversations while I’m at the cafe. I watch them waiting for busses or trying to fight their way to a crowded bar.

I have trouble going out and not meeting new people. I’m a social creature and these social encounters are very important to my work. Without them I’m afraid of what I might end up creating, and I’m sure it would be dull and lifeless.

What can you tell us about your planning and making process for making art, and has that altered over the years?

The physical process starts with the camera. A subject is chosen and asked to pose. The camera is set on a tripod and the subject is asked to pretend the camera is a mirror, and that they are ‘checking themselves out’. Several photos are taken and then transferred into the computer for digital modifications. The photos are then touched up and arranged in a composition. Then, using vector tools, they are traced into shapes of color. Once they have been ‘vectorized’, they are printed in grayscale. The printed piece is then projected onto canvas and the piece is traced loosely. The shapes are then filled in with acrylic paint thinned with water, and gouache markers. Lastly, gold leaf is applied.

Some say the lifespan of many “artists” post educationally is about five years, any thoughts on that?

“ Some say the lifespan of many “artists” post educationally is about five years.” Wow. That’s frightening. I graduated in May of 2005, so ask me in a couple of months about this. I’m pretty confident I’ll still be painting though.


Vintage Sunglasses
Acrylic, Silver and Gold Leaf on Canvas
52? x 60?
132cm x 152cm

If you could have any piece of artwork in your personal collection, what would it be and why?

If I could have any piece of artwork in my personal collection, I’m pretty sure I’d grab a Lichtenstein. Probably one of his large scale abstract pieces. Maybe something straight out of the Chicago Art Institute’s Modern Wing. I went to the modern wing with my Cousin’s and had a good long look at some of those Lichtensteins there. I was really impressed.

Of course the answer to this question could be different almost any day of the week. I’m almost always tempted to become a thief when I see any of Eric Fischl’s work.

What happens to works that “don’t work out”?

Gesso happens.


Black Keys – Dallas / Ft. Worth – The Ridglea – June 19th
Live Painting
60 x 60″

Do you hope the viewer will “get” what you are trying to communicate or do you feel compelled to spell it out to them?

Neither. When I produce a painting, I hope that the viewer will be visually stimulated. I want to reach them in an aesthetic way. Anything I’m attempting to communicate beyond that is purely secondary and supportive of that aesthetic idea.

Have you had much connection post sale with purchasers of your works?

I try and keep in touch with everyone I sell to. It’s important to me to make sure they are still happy with the piece in days to come. If there’s a problem with the piece , I want to be available to help. Sometimes paintings are scuffed or damaged in moves. I’ve had my fair share of repair requests. I’m happy to do it, because that work represents me, therefore it’s condition does as well.

Is your work process fast or slow?

The time it takes me to complete a painting is very dependent on circumstance. I often do ‘Live Painting’ in which pieces are completed in as quick as 4 hours. On the other hand, I have paintings in my studio which I started in 2005 and have still not completed.

Art as a therapeutic device; do you think it is useful for this purpose and is your work in this category somehow?

I would discourage anyone serious about the arts to consider their work a therapeutic exercise.

Do you aim to make “masterpieces” with the aim of being seen in the future as an artist that really made their mark in art history?

When I produce a painting, I consider it an object. It’s just a piece of material with paint on it. It’s not ‘Art’. It’s an object. That being said, I do try to create objects that will easily outlive me.

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Compiled and edited by Steve Gray © 2009+

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The Theinert View…

Ursula Theinert is no stranger to the Art Re-Source blog, and now being part of the Fields of View exhibition we chat to her again to find out some details.

News Flash!

Here’s an interview done on SBS… It’s great when artists can get media exposure like this! It’s called inspiration from disaster.


1. Tell us about the works you have created for this exhibition.

I have completed three works and have nearly finished another.  My first painting was done a few months after Black Saturday, and heralded a new start in my physical and emotional energy to begin my art practice again.  We had just rebuilt a garage and had gathered together, and been given art supplies from friends and strangers, who kindly wanted to help.  My father built me two beautiful easels and a painting table and so with all this support and space to paint I felt energized to begin.

My first painting is called ‘Ashes to Ashes’ and is an acrylic work on a 120 x 150cm canvas, with a similar composition to the many paintings that were destroyed by the fire, which had been stored in the workshop studio which burnt down.  This painting was a great release for me, a coming to an acceptance of what had happened, and acted almost in the same way a funeral does with the grieving of a loved one.  The composition is a panoramic view of the hills of Callignee, as an attempt to portray the vastness of the devastation and the acceptance of the destruction. I also incorporated text using all words beginning with the letter ‘f’ that related to the fire eg., firestorm, fear, flames etc .These words acted as an emotive purge of my feelings about the fire.   This was a necessary start to my grieving and led me to the next phase of my work which was the more spiritual awareness of the miracle like quality of escaping such a dangerous event.

My next painting is called ‘Fire Angels’,  a triptych of  three 120 x 120cm canvases, which as the title suggests deals with the profound sense of a spiritual presence which kept my husband and I safe against all odds.  We came close to death several times and yet somehow we did not panic, we were guided to safety at the right time, with many other coincidences and good fortunes occurring,  all aiding in the sense of an otherworldliness surrounding us.  My composition is based on looking up into the tree tops of our totally burnt trees just next to our little mud brick home.  The trees had crowned and the house next door was destroyed.  The repetition of the images is an attempt to show a reflection on the meaning of the scene and the recurrence of that view and repeated safe outcome of many others, but sadly not all, who had to face Black Saturday.  Again I use text beginning with the words ‘Fire angels’ and list words that relate to guiding and overseeing and ending up with a phrase of ‘’keeping vigil over us”.

My next triptych is ‘Changeling’, and this painting relates to the issues of the acceptance of change to one’s fate, and the tenuous reality of plans and ownership.  I am certain that I was at the ‘angry’ phase of the grieving process at this time because I ached for my home and garden and land and trees and life, just the way it was before the fire.  The gratefulness of being alive and still having some parts of our former life was overwhelmed with the pain of having to deal with the day to day realities of the aftermath.  Again there is text used to reinforce this unwanted change that we all felt,  examples being,  ‘our land’, ‘our home’, ’our community’, our plans, ‘our fate’ etc.

During this time the rebuilding continued at a steady pace and we felt that we had reached certain goals, with our studio and gallery, almost being completed, and the house becoming more comfortable too.  The frenzy of activity and the stresses and positive outcomes of this amazing year almost paralleled the regeneration of the trees around us.  That regrowth and reawakening of nature has I feel mirrored the repairing of our psyche and emotional strength, with my latest triptych depicting an almost joyous scene of hope and a new beginning.


2.  What does being an environmental expressionist mean to you?

It means I am concerned by the challenging environmental issues confronting and threatening our global future.  In my paintings I use text, colour and emotion to tap into the subconscious spiritual bond connecting us to nature to enhance the desire for innovative changes on a community level as well as globally.

I believe art has an important role to play in visually stimulating an audience with positive and negative messages which reinforce the need to nurture our world.  This visual approach is designed to inspire interest in environmental issues.  Art evokes deeply layered feelings, intuition and instinct within us all.  My works aim to facilitate contemplation and I believe intrinsically worthwhile outcomes occur when we experience another viewpoint and often all we need to do is to …”stop for a moment….!”

3.  What makes this exhibition so important, people should go and see it?

I feel Black Saturday touched everyone in Victoria, with the whole of the country ostensibly coming together and forming an emotional and psychological bond.  The fires are imbedded in our psyche, with this summer season highlighting the amount of interest, care and heightened awareness and education extracted from the painful experience of the fire and its aftermath.

This eclectic range of personal experience is reflected in some ways by the group of artists in Fields of View.  The artistic exploration of the five artists in this exhibition expresses their own individual experiences and perceptions through their own mediums in an evocative and dynamic way.   The complex environmental, philosophical, spiritual, emotional and intellectual issues that the fire has evoked in the artists will resonate with the community at large.   The ‘Fields of View’ theme is based on the Black Saturday fires but it also envelops larger issues, such as, the balance of the natural world, sustainability and conservation.   The power of art to stimulate, inform and encourage discussion through emotional creativity, indeed, can be seen in this valid example of environmental expressionism.

4.  Australian landscape is a well represented genre, what do you think Fields of View and your own work adds to the genre?

I thinks the Australian landscape has been depicted in many forms from the esoteric Aboriginal work, early European settlement, Australian Impressionists, Australian Expressionists and the contemporary art of today. Each have added to the whole journey, story of our history, way of viewing our world and each other.  I quite often feel Western artists have viewed the landscape as either romantically beautiful or foreboding and dangerous, and there is truth in both of these expressions of our surroundings.  However, I believe, artists are now seeing the land, the environment as the one being  threatened by humankind with the grave issues of the ‘balance’ in the natural world, sustainability and conservation all becoming the strong narrative feature of the work.

My focus is on the dichotomy between our love of our country and our use of our resources.  I feel we have a profound spiritual connection to the land, which I poignantly experienced during Black Saturday while I defended my home.   My work transcends known realities to the unknown otherworldly spiritual presences through our interaction with the environment.  I feel this spiritual bond heightens the enormous responsibility we have to our world and issues like sustainable wood supplies, carbon trading schemes and the many global challenges we face can only be addressed with fresh eyes and lateral thinking.

The Fields of View exhibition brings together five artists who were personally affected by the fires and who also explore the complex issues of our perceptions and our place in the world and our affect upon the environment.  We are passionate about art and our work, striving to express our narratives in a modern way, which is, to provide, create and enhance a greater understanding and awareness of environmental issues through art.