Vociferous Whimsy

Q&A with Katrina Rhodes

A while back I reviewed Katrina Rhodes’ show at No Vancancy - below is a Q&A with the artist.

Describe the project you’re working on at the moment?
At present I am concentrating on making an extension to my studio, as over the past year it has seemed to Implode with endless brushes, canvas and general painting supplies. I have two commissions in which I need to start, but during the days now that my show has come to an almost sell out close, I am commissioned to design and execute gold leaf ceiling designs for a mansion in Toorak. Let’s just say I can’t wait to get my next show started.

What inspired you to make this piece/series?
What inspired me was merely the fact that I wanted to do something for myself. Over all the years I have been a painter that has had to follow the briefing or had to work within the restrictions of a client or directors limits, someone else always takes the credit in those scenarios. Whether that has been interiors or film or theatre the story is always the same the artist is left at the end of the day walking away from a masterpiece, that same artist can never take any ownership. I wanted to create something that helped me find happiness and in turn, create smiles around me. I have always been curious of the old masters in painting and have always worshiped their commitment to what they do. Call me self indulgent if you like, but this is the way I like to learn. And to chose a subject matter for me comes with a much more organic experience. I just go with the flow and let the subject matter take me for a ride. I trust what I paint, and I have every faith that it will take me to my dreams as my dreams take me to my subject matter.

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Review | Bill Henson at Tolarno Galleries

When I visited Tolarno Galleries it was quiet and almost deserted. Nothing hinted at the 500 strong crowds which had piled in for the opening night, nothing except the director’s lost voice. In the silence I contemplated the thirteen Henson photographs. I was drawn to the far corner and Untitled 2009/2010 (#11) and found that it encapsulated Henson’s interest in artworks of the past, statuary and the body as a sight for more than sexuality.

A red haired figure fills the frame with her head bent forwards and bare shoulders cropped at the chest. Light falls from behind her, illuminating a flame red strand of her hair and white skin under her neck. Her chin and profile are almost in silhouette, but there is enough light that we notice the figure’s closed eyes and reflective withdrawn expression. Shadows mottle the skin of the nude figure making it look like marble. There are blues, purples and greens swirling on the skin of the figures in this series, however in Untitled 2009/2010 (#11) stands out, her skin is creamy, life filled.

She is surrounded by darkness; her hair is absorbed into the black background, which contrasts with a wisp of red hair. Her pose is has something in common with Botticelli’s The Birth of Venus (c. 1486). Though her head is tilted further forward, this model is posed at a similar angle to Venus. Her shoulders are bare like Venus’s and her age and fiery hair are similar to The Birth of Venus. There are differences, however, Venus looks at the viewer and the model in Untitled 2009/2010 (#11) looks down. Is this a modern Venus we see? And if so why does she look away?  

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