As part of the 2018 Adelaide Fringe Festival, the Centre for Creative Health is proud to present exhibitions by three exceptional South Australian artists Jane Skeer, Catherine Fitz-Gerald and Sue Michael.
Jane Skeer works predominantly in sculpture and installation, creating work in response to her observations of people, objects and materials. Skeer re-presents discarded objects, highlighting the vitality she sees in them. A repetitive production process allows her the time and space to contemplate the material and work collaboratively with it to activate it in some way. Through her work, Skeer’s intention is to prompt us to rethink our relationship with the redundant, seeking to prove that the unwanted is in fact useful.
Of Nature 1d
Catherine Fitz-Gerald’s art explores the different ways light and colour reveal form. Memory, mood and abundance are often the inspiration for works which explore the natural world.
As music can be transposed from classical to jazz, Catherine has transposed her realistic paintings into abstractions, creating six degrees of separation from the original subject in the process.
Transparency, opacity, tone and colour are used to form shape and depth. Images are built out of simple elements, focusing on creating a rhythmic dynamic between colour intensity and retreating or advancing hues.
The abstraction that results from this process does not intend to dispense with a recognisable subject, but to create works which explore slices of light and colour while still bearing a relationship to the original object.
Catherine’s art practise forms an integral part of her journey to health and well- being and her most recent work explores emerging science on how light and colour can affect our brains beyond regular colour vision through non image forming pathways.
Transposition 17 – Harvest Gold
‘My recent Visual Art PhD research has been examining the singularities, complexities and overlooked aspects of place in the Mid North of South Australia. It has been a trans-disciplinary approach working with humanistic geographers, who also share an interest in reciprocal relationships with the natural world. Domestic settings have been a rich source of information for an artist-as-geographer, as vernacular architecture, adjusted material culture, and creative cultural practices provide evidence of the dwellers’ environmental awareness. Place forms but never seems to leave us, as my childhood memories confirmed.
Thoughts of my pioneering ancestors were never far from my thoughts. Even though they faced geographical challenges they learnt to love Australia. I, too, felt this ‘clearly invisible’ force in the Mid North that enchanted me. Little birds delivered greetings, gum blossoms cast perfumes my way, and the sentient hills seemed to record my return.
A previous Registered Nurse, I have also found the more recent volunteer work as a Lavender Lady in the ICU a precious and grounding task for myself as an artist.’
House in the Middle of Nowhere