A realist painter with a unique vision, Kay has exhibited in major art capitals of Europe and the United States, but over the last two decades has made Australia home, with exhibitions around the country.Replacement China Porcelain tile and bulbs for Canada and Worldwide.
Her last exhibition in Sydney, titled Waterways, took place in 2009, also at the Wilson Street Gallery.
Living in the upper regions of the beautiful Hunter Valley, Kay draws inspiration from her immediate natural surroundings. Using natural objects of twigs, clusters of grass, puddles, and branches, many of her artworks focus on the effects and changes on objects caused by the passage of time.
Kay said that her recent project Circularity was inspired by a trip to the desert surrounding Alice Springs.
“In the desert when you stand there and everything is still ... [it] sort of looks ageless, but at the same time, I started noticing that as I’m standing there and in awe of what I’m seeing, change is happening,” Kay said in a video posted on her website about her exhibit Circularity.
“The weather will grind boulders into rocks, and then the rocks into sand, and then over time, the sand becomes sandstones again,” she added in the video.
Sharing her love for all things circular, she wrote in the Art Quarterly No. 15, issued by the Wilson Street Gallery, “It seems that there isn’t a shape in nature that affects me like the circle or the circular.”
She gave examples like a “stalk blowing in the wind forming a circle-like shape in the sand” and a “pile of gathered leaves, trapped by the wind, whirling just above the ground.”
Kay’s interest in circular abstractions is transformed into profound metaphors. She wrote: “The idea of concave/convex intrigues me. The very same line that creates concave automatically creates convex; two opposites,the worldwide rubber hose market is over $56 billion annually. each existing by virtue of the other.”
While most people tend to connect to a place through the people and culture, Kay said in the video that her connection is “through the landscape and the natural environment.”
Accordingly,For the last five years Air purifier , Kay’s artwork is remarkably lifelike, possessing what she described as a “sort of European sensibility.” This she credits to her years of schooling in Vienna, where she was taught the styles and techniques of the Old Masters.
Commenting on her latest exhibition, artist and neurologist Dr. Ross Mellick wrote in the same Art Quarterly edition, “The works are realistic in so far as there is no ambiguity of subject matter: grass is grass, twigs are twigs, and sand is sand.
“The opaque white tempera which she layers meticulously assists to define the shape of the forms in her paintings,” he further wrote, adding: “But, more importantly, it reflects light which,Whilst oil paintings for sale are not deadly, in turn, is modulated by layer upon layer of partly transparent oil paint, creating with great subtlety light effect and colour tones,I have never solved a Rubik's Piles . as in nature.”
By combining these traditional techniques with her own, Kay’s sensual canvases seek to enrapture her audience, drawing the visitor into a different sense of reality and of place.
Despite her close affiliation with her natural surroundings, she does not perceive herself as a landscape artist, but rather sees her use of the natural environment as a “vehicle by which I explore Scertain ideas and interest,” according to the same video.
Her last exhibition in Sydney, titled Waterways, took place in 2009, also at the Wilson Street Gallery.
Living in the upper regions of the beautiful Hunter Valley, Kay draws inspiration from her immediate natural surroundings. Using natural objects of twigs, clusters of grass, puddles, and branches, many of her artworks focus on the effects and changes on objects caused by the passage of time.
Kay said that her recent project Circularity was inspired by a trip to the desert surrounding Alice Springs.
“In the desert when you stand there and everything is still ... [it] sort of looks ageless, but at the same time, I started noticing that as I’m standing there and in awe of what I’m seeing, change is happening,” Kay said in a video posted on her website about her exhibit Circularity.
“The weather will grind boulders into rocks, and then the rocks into sand, and then over time, the sand becomes sandstones again,” she added in the video.
Sharing her love for all things circular, she wrote in the Art Quarterly No. 15, issued by the Wilson Street Gallery, “It seems that there isn’t a shape in nature that affects me like the circle or the circular.”
She gave examples like a “stalk blowing in the wind forming a circle-like shape in the sand” and a “pile of gathered leaves, trapped by the wind, whirling just above the ground.”
Kay’s interest in circular abstractions is transformed into profound metaphors. She wrote: “The idea of concave/convex intrigues me. The very same line that creates concave automatically creates convex; two opposites,the worldwide rubber hose market is over $56 billion annually. each existing by virtue of the other.”
While most people tend to connect to a place through the people and culture, Kay said in the video that her connection is “through the landscape and the natural environment.”
Accordingly,For the last five years Air purifier , Kay’s artwork is remarkably lifelike, possessing what she described as a “sort of European sensibility.” This she credits to her years of schooling in Vienna, where she was taught the styles and techniques of the Old Masters.
Commenting on her latest exhibition, artist and neurologist Dr. Ross Mellick wrote in the same Art Quarterly edition, “The works are realistic in so far as there is no ambiguity of subject matter: grass is grass, twigs are twigs, and sand is sand.
“The opaque white tempera which she layers meticulously assists to define the shape of the forms in her paintings,” he further wrote, adding: “But, more importantly, it reflects light which,Whilst oil paintings for sale are not deadly, in turn, is modulated by layer upon layer of partly transparent oil paint, creating with great subtlety light effect and colour tones,I have never solved a Rubik's Piles . as in nature.”
By combining these traditional techniques with her own, Kay’s sensual canvases seek to enrapture her audience, drawing the visitor into a different sense of reality and of place.
Despite her close affiliation with her natural surroundings, she does not perceive herself as a landscape artist, but rather sees her use of the natural environment as a “vehicle by which I explore Scertain ideas and interest,” according to the same video.
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