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Kurt
Brereton
Dreamhomes
& Rising Tides - 2007
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cnr Church and Stewart
Street Wollongong
"Artist Kurt
Brereton is controversially putting forward his views on climate change
through an exhibition with a difference."
Michele Todd, Illawarra Mercury (March 5, 2007)
"A different
view" The Local Citizen (March 8th, 2007)
'"Kurt Brereton
produces art with meaning" The Northern Leader, (March 8, 2007)
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Artist Statement
This exhibition has
been inspired by the changing face of the ever expanding built and dinishing
natural Illawarra environment. The impact of new housing estates on coastal
marshlands; shrinking mangroves, rising sea levels and beach erosion all
play a role.
The series titled
“Dream Homes” engages with a recent rise of luxury new houses
on Sandon Point estate. Each house has been mapped in over the top of
the view it faces (or draws upon). Our view is now mediated by and through
the presence of these dream homes that speculatively line up along the
beach front.
Less directly representational are a group of lyrically abstract works
inspired by issues connnected with Sandon Point, Bulli. Building on the
2005 Chronography series, a transition can be seen between the making
out of time as duration and the mapping of place as the locality of experience.
The digitised mark-making process of laying down fields of grids with
dashes now gives way in this current exhibition to more organic gestures
of curvy line, transparent layers and glazes. There is a sense of history
at work in these paintings.
The third group of
paintings titled Sea-Rise series is a more direct engagment with the impact
of global warming and rising sea levels on the Illawarra coast. Famous
beach front views have been overdrawn with (and erased by) linear outline
profiles of the BHP steel works. Imaginary views have been constructed
of what these beaches will look like in the year 2030 under 5 metres of
searise.
In a dialogue with the paintings are a series of sculptures constructed
from found and recycled building materials (plastic, wire, wood) chucked
out onto suburban “nature strips”. Everything is held together
with plastic garden ties. The results are genetically engineered hybrid
plants - 1 part noxious plant, 1 part abandoned public art monument and
1 part totemic figure.
Dreamhome
Series
click
on images below to see larger size
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Dream Home No 1, oil
on canvas, 91x 61cm $2500
This award winning
house sits in prime position on Sandon Point Stockland development. This
dream home reminds me of a slide viewing machine framing the wonderful
Northern coastal views. The translucent rendering of the house superimposed
upon the view suggests both an apparition and an imposition. Nothing is
solid. Even the background grid of painted dashes maps the passage of
time and the transience of all dreams, buildings and framed visions.
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Dream Home No 2, oil
on canvas, 91x 61cm $2500
The tall beautiful
yucca plants are seen as weeds by the local Bulli land care group. This
big white luxury dream home is also seen as an introduced species by some
local residents. Be they sublime or abject, both Yucca and Dream Home
occupy politically sensitive tenuous positions within this sort-after
highly contested location.
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SOLD
Dream Home No 3, oil
on plywood, 56 x 48cm
This Dream Home looks
out to Sandon Point with the old boat sheds in the foreground. I have
left the plywood ground bare to emphasise the environmental cost of building
and running these luxury houses that are not very energy efficient. Occupying
a big footprint, they are designed to fully “draw upon the view”
from every possible vantage point.
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SOLD
Dream Home No 4, oil
on plywood, 56 x 48cm
This house looks back
along Bulli Beach towards Ruby’s Cafe on Bulli Point. The Norfolk
Island Pines are featured icons of the south coast. While pines are very
long lived and these ones are still young. However by the time they mature
they may be washed away by the rising seas along with most of what we
see in this painting. |
SOLD
Dream Home No 5, oil
on plywood, 56 x 48cm
This is a pastel drawing of
the Kuradji Embassy with a new Sandon Point Estate dream home superimposed
in oil paint. The mission of the Embassy is to protest against the Stockland
housing development and reclaim Korri heritage land. The juxtaposition
and marked differences in socioeconomic and cultural terms are marked.
Yet both are making strong statements about time, place and identity in
radically different ways. Corrugated iron shack tactics verses concrete
bunker aesthetics. Both sites are also under the same threat of encroaching
sea levels and erosion.
Sandon Point
Series
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SOLD
Dream Home No 6, oil on canvas, 56 x 48cm
The Dream Home series
was intentionally painted in a style that is a cross between an architectural
concept plan and a nostalgic tourist postcard. The famous old boat sheds
at Sandon Point often feature as a backdrop to weekend weddings. The exotic
feral Yuccas and Norfolk Island Pines stand in the foreground as a sign
of resistance as well as change.
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SOLD
Kuradji Embassy No
1, oil on canvas, 167x121cm $3900
This painting began
live as a quite literal representation of the Kuradji Embassy behind the
beach below Stockland’s The Point development. Over a number of
weeks I then abstracted and condensed the image into a series of enclosed
shapes, lines, patterned fields and fragments of iconic objects such as
Norfolk Pines, Aboriginal Flag, patches of blue sky and barely recognisable
buildings.
In this process I was not interested in painting an historical record
(photos can perhaps do it better). Rather, I wanted to suggest the complexities
at work in the political, cultural and social struggles embodied practically
and symbolically by the presence of the embassy. Needless to say, I was
not trying to speak for the embassy in any political or cultural sense.
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SOLD
Fishing at Bulli, oil
on canvas, 95 x38cm
I occasionally go fishing with my son Harry along Bulli
Beach. We inhabit thought bubbles or escape time capsules while we fish.
These are intersected/ bound by fishing line that tie together these cherished
brief experiences overlapping present pleasures with past memories. Of
fishing with my father back when I was a boy (<~>) time seems to
wind us back for a few deja vu moments. |
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SOLD
The Swimmer, oil on
board, 56 x47cm
My love of swimming in the sea started as a small child
on the far north coast of NSW. Ever since I have lived beside on beach;
in Sydney and now at Bulli for the last decade. Floating in the ebb and
flow of the surf, still warm patches of water map out a varied pattern
each time one enters the water. The tiny vertical dashes record the number
of times I have gone for a surf during my lifetime - ie too many to count
OR the measured beat of strokes - of arms and feet that propel me beyond
the breakers parallel to the shoreline. |
Memorial to Sandon
Point Picket, oil on board,
50 x58cm $750 SOLD
The top picket on
Sandon Point headland was active for over five years (2001-2006). Many
volunteer activists from diverse backgrounds and persuasions kept the
picket alive through thick and thin times as a highly visible protest
against the Stocklands THE POINT development. It survived one fire bombing
but was eventually completely burnt to the ground in suspicious circumstances
late one night. In a few days every last trace of its existence was erased
from the face of the earth. This painting is my small memorial to those
happy times I sat with my friend Noel Sanders and his faithful dog Fred;
both committed “regulars”.
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SOLD
Bulli Coal Wash, oil
on canvas, 36x25cm
I produced a mini series of small works that were based
on fragments or sections of the larger Kuradji Embassy painting. However
each fragment is different from the original source. Not least because
I have titled each work with reference to activities performed at Sandon
Point and which are informed in some way by the significance of the Embassy.
Here the allusion to the black section of the Aboriginal flag here also
denotes the coal wash that lines the shore. |
SOLD
Perfect Surf at Sandon
Point, oil on canvas, 32x26cm
I wanted in this painting
to be a tiny jewel-like image that glowed like a polished gem stone or
one of those perfect crystal waves at Sandon Point. We look through the
coloured prism or lens of the wave/gemstone to the horizon. The aim was
produce a gestalt reaction where each fragment or element when combined
produces an emotional effect that greater than the sum of its parts.
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Seven Divers, oil on
canvas, 216 x 93cm $3900
An
epic narrative painting describing the phenomena and symbolism of diving
into water. This painting is a cross between figurative abstraction and
classical allegory painting (showing the stages in a story across time).
Each figure has frozen into an iconic sculpture except the swimming man
“out the back” waving to you the viewer. The cross currents
of swirling gestures mirror the experience of being caught in the rips
of the surf. The large rounded translucent shapes denote organs (lungs)
calm pools, coloured lens, jellyfish and shells. No one figure is left
untouched by the energies of the natural environment that govern our entry,
immersion and exit from the pool.
Liminal
Series
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Sandon Point Yaccas, oil and lino on MDF,
125 x 95cm $2900
Uses original linocut
stamps as a construction base for a painting. The idea is that anyone
can print off an infinite number of prints from this original template.
While the Yucca has been destroyed the echo of its existence lives on
through the hard labour art care workers - as opposed to the actions of
eco-nazi operatives.
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Liminal-time No 1,
oil on canvas, 185 x 124cm $3500 SOLD
The word “liminal”
refers to the thresholds, boundaries and borderlines of binary constructions
(eg black/white, masculine/feminine, Eastern/Western). These oppositions
are convenient yet flimsy truths, producing blurrings and gaps which might
be exploited in order to deconstruct these oppositions. The background
grid record of markings (doing time) lays out the liminal ground. The
black curvilinear wire-like drawing signifies the searching critical path
undertaken by the artist. The offset coloured shapes floating just behind
the line yet above the time-grid, are the growth of alternative third
meanings that have escaped (morphed) from the liminal zone.
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SOLD
Liminal-time Study,
oil on canvas, 60 x 30cm
This is a study for the large
Liminal-time No 1. I wanted to also create a curvilinear record that echoed
the golden age of plastic (1950/60s) and decor furnishings that informed
my childhood. There is a satisfying pleasure in visually tracing these
curved pathways like a sea-snail and resting in waterworn coloured shapes.
The offset coloured shapes remind me of perspex - which I have used in
the Hybrid sculpture series. |
SOLD
Liminal-time No 2,
oil on canvas, 185 x 124cm
Psychologists call ”liminal
space” a place where boundaries become indeterminate. We stand there,
on the threshold, getting ourselves ready to move across the limits of
what we were into what we might become. That is, this is a space or field
of transformation between phases of separation and reincorporation. This
painting is my record of finding myself inside a liminal space - in a
period of ambiguity, of marginal and transitional state. This is a very
common experience of shedding baggage and travelling lighter between stops.
In post-colonial studies, liminality relates to the concept of cultural
hybridity, describing complex untidy trans cultural spaces, trans geographical
or trans gender states etc. Every transition is also an opportunity to
redefine fixed viewpoints.
Land-Care Yuccas, oil
on canvas, 85 x 65cm SOLD
This painting is an abstract portrait of a local landcare
operative who, rumour has it, has been regularly chopping down the lovely
Sandon Point yucca plants. However, I did not want to be too literal in
my depiction of any specific person. I was more interested in the state
of mind that would drive someone to violently chop down (dismember) a
lovely flowering plant simply because it is not indigenous to the locality.
I see this eco-fundamentalism as the sharp pointy end (of a great restorative
community group that I totally support) on the part of a few people who
are understandably distressed by the loss of what they see as native habitat
in the face of global warming and rapid coastal developments. Enter the
liminal myth of “weeds” and “natives”.
SOLD
Lost, recycled seaworn
concrete and oil,
60 x 30 x 40cm
Part ruined wartime bunker, part eroded sculpture from
some Japanese garden or perhaps a public art commision from the Eastern
Block? All constructed from sea worn pieces of concrete building materials
found washed up on Bulli Beach. I have added paint to the white encrusted
remains of various sealife that once were squatters. The sculpture is
interactive in that you can adjust the components to change the appearance.
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Liminal-time No 3, oil on board, 90 x 60cm $1500 SOLD
This lyrically abstract
work began life as a painting of a chopped down Yucca plant. The intensity
of emotions I felt about this destruction have combined to overlap and
override any comfortable literal representation. I wanted to create a
sense of loosing or falling into a botanical tangle in the battle for
survival is being waged by activists and speculators that forms the undergrowth
to the calm scenic beauty of the “million dollar view” from
Sandon Point.
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Hybrid No 3, mixed media, 85x58x20cm $1700 SOLD
Hardy Hybrid No 3. (HH3) is
a new biotronic breed with grafted wheels for easy maneuvering around
patios. It is a multifunctional convergent species - being a mobile radar
station, climate change recording gauge and highly nutritious GM crop.
It was built from a mail order kit and while very fragile is highly versatile.
HH3 is designed to sit flush against a wall like an spoliated fruit tree.
It also works well as a space friendly piece of decor furniture. You can
also use the tiny shelves to showcase mementos, cherished family heirlooms
or mutant robotic toys. |
SOLD
Hybrid No 1, mixed media, 85x58x20cm
The toughest plants
best suited to cope with increasing draught conditions of a drying continent
are hardy hybrid crosses. This little beauty (HH1) needs almost no watering
and yet flowers throughout the year in both sunny and shady spots. But
that’s not all!... it is so easy to propagate from cuttings too!
And that’s your bloomin’ lot till next week when Jane....
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SOLD
Hybrid No 2, mixed
media, 85x58x20cm
This hybrid cross (HH2) was
grafted onto a wire and recycled wood stock. It is a frost resistant cultivar
and thrives in all Australian climates. Breed specifically as an outdoor
sunlover it needs little watering as an indoor plant. While extremely
slow growing, I suggest that you turn it around once a month to allow
the leaves to grow evenly.
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SOLD
The Prelude,oil on plywood, 60x50cm
The title “The Altar” denotes
a raised structure such as a table often covered in gold on which gifts
or sacrifices to a god are made. There is ghostly appearance to this painting.
We are left with a hollow tracing (an after image) of a more solid presence
now departed. One fly (blow-in) sits on the surface of the painting as
a reminder of illusions and conceits of all social altars to grand orders.
Sea-Rise 2030
Series
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SOLD
The Prelude, mixed media,50x26x30cm
The Altar
painting and companion sculpture are also DIY desiring machines doubling
as pathetic memorials. Made largely out of bits of discarded flotsam and
jetsam found on my local beach, the assemblage is all held together with
a piece of dyed pink cotton rope. The seaweed, sponge, worm-eaten driftwood
and “public sculpture” have all been painted in gold in sympathy
with the two gold figurenes. The spiral mosquito coil acts as a time spring
that powers the whole machine. For art buffs, this fully working model
using wire, wood and painted canvas and perspex is also a sideways comment
on Duchamp’s cryptically libidinal Large Glass work.
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Searise (Bulli) 2030,
oil on plywood, 150 x 64cm $2500
This is a formally transitional work for me - referencing
the Chronography Series, the sea rise series and the more lyrically abstract
Liminal series - all coming together in a street parade procession slowly
moving towards 2030 and the inevitable rising of the sea across Bulli
Point. Everything is floating, drifting and slipping across the horizon
before our eyes.
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SOLD
Bulli Point 2030, oil
on plywood, 50 x23cm
The sea rise series
maps the ghostly presence of the industrial estate of BHP over the top
of various famous Illawarra coastal landmarks. This painting combines
BHP with Sandon Point after the sea has risen another 5 metres. This of
course has nothing to do with actual scientific facts ie storm surges
would actually wash away the whole headland vegetation etc. Rather, I
am interested in creating a more subtly shocking effect - one that is
beautiful at first glance yet dystopic on closer inspection.
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SOLD
Woonona Pool 2030, oil on board, 56 x30cm
Woonona Swimming Pool is a favourite art deco haven for
locals. Here it is under 5 metres of sea rise with BHP tracing a symbolic
imprint of its role as a player in the greenhouse drama. |
Illawarra Pines 2030,
oil on board, 50 x23cm $700
Again BHP lies on the horizon with only the skeletons
of Norfolk Island Pines to give us any perspective. This is a surreal
image given that we are looking back out to sea and have no reference
points to locate us at any specific beach suburb.
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Wollongong Harbour
2030, oil on canvas, 51 x36cm $700
Wollongong Harbour before and after the searise. Before
(being the present) is the white outline image of the boats at anchor
and apartment buildings over looking the harbour. The after (2030) is
the painted landscape of the old lighthouse up on the headland with 5
meters of searise which has wiped out everything leaving only the white
lighthgouse in the middle distance.
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SOLD
Coalships off Bulli,
oil, copper, coal on board,
172 x32cm
The every present
coal ships waiting off Bulli and Wollongong have been painted here in
a C19th Colonial Australian style that renders the scene always already
a thing of the past. Given the Greenhouse Effect and the major role played
by coal in our increasingly warming and dimming climate, the future of
the coal mining industry looks bleak. I wanted to suggest that perhaps
the currently “rock solid” coal economy (dirty or clean) is
turning into a chimera. The use of copper wire, coal dust and divisions
of both ground and sulphurous coloured filters, all add to the breakdown
of a seamless smooth reality made up of clockwork shipments arriving and
departing the horizon. |
SOLD
Minnamurra Mangroves,
oil on canvas, 125 x 95cm
The lovely Minnamurra mangroves have been a favourite
place for me to draw. This quiet retreat reminds me of my childhood mangrove
environment. The fragile delicate play of muted blue and yellow light
reflected on the dark brown mud-stained waters, transforms this seemingly
alien underworld into a other-worldly magical place. The wire and offset
colour field shapes suggest the interactions of cultural productions of
one kind or other that have invaded the mangrove ecosystem. |
SOLD
Bulli
Panorama, oil and lino stamps on digital inkjet phto on canvas,
55 x200cm
Looking
back from Sandon Point to the escarpment. The abstract white line and
coloured offset rounded echo shapes suggest both organic forms (organs,
sea creatures) and map legend tourist viewing stops. |