Wednesday, April 22, 2015


Works on paper - In progress

I am waiting for a couple of oil paintings to dry before I continue with them. So I have returned to my works on paper.

And, painting on paper is a bit precarious sometimes. When a 'mistake' is made I have to really think about whether it is a point-of-no-return type of mistake or whether I could consider it some kind of 'divine intervention', like a message to disembark from my current journey to take a completely different one! If a 'mistake' is made with an oil painting, I ask the same questions, but oil paint and linen are much more forgiving when it comes to wiping out, redoing etc. Paper and gouache or watercolour paints do not allow for too much scrubbing, rubbing, painting over... and wiping out is impossible.

Given the different level of 'forgiveness' between oil painting and works on paper, it takes a little while for me to adjust when I go back and forth between the two, especially if there are long periods of time spent on either one. The way I fast track this adjustment with works on paper is to just go-for-it! I splash paint and water around, hang the paper upside down, drip other colours and generally have fun. The thing is though, I will end up ripping up over half of the paintings...but I quickly get into a groove that I feel happy with. Mind you...the special watercolour paper I use is not cheap, but I have to ignore that. Why? Because quality of materials are very important to me. Also, the good quality means I can be more brutal with water saturation, heavy handed brushing etc. Cheaper paper just curls up and almost dissolves!

In the photo above there is a selection of works on paper in progress. There are ten here in this photo and another ten or so drying elsewhere in my studio. Below is a photo of paintings further along the process. I have already ripped up a few by the time I've got to this point. And, I will be ripping up a few more! For example, I am not too sure about the one on the top left. It might have to go?

In the photo below some paintings are further along the process than others, but I keep them on view so that when I re-enter my small works on paper studio/room, after leaving it, I see them with fresh eyes. This is a tactic that I use with oil paintings too. Fresh eyes are important! Sometimes I will be unhappy with a painting, but when I walk away and return some hours later, I see things that I had not seen before. Sometimes a painting that had made me unhappy or uneasy 'speaks' to me in a way where I see a way forward. And, yes...there are other times when I just say to the do really have to go.

It Beckons [below] can be seen in the photo above. It's the small one in the middle bottom row. Since the photo above was taken I have worked a little more on this painting. I am happy...and the painting will probably be in my next exhibition in 21 July - 2 August here in Brisbane. But, time will tell how many of the other paintings will survive to be exhibited too.
It Beckons Gouache and watercolour on paper 15 x 21 cm 2015
The above discussion sets the scene for a little chatter about a question I am often asked...
Kathryn, how long did it take to paint this painting?
A finished painting is actually not a sole expression. It is, in fact, a culmination of many successes and failures over a long period of time. Yes, as regular readers know, many of my paintings have immense detail and this does take a long time, but other paintings are not as detailed and therefore do not take long at all. Yet, these less detailed paintings would not happen without the preamble of thousands of hours of dexterous painting and thinking. With each painting I learn more about paint, surface materials and mediums such as water, turps and oil. A less detailed painting may strike a inner chord with me that culminates in another more detailed painting. There's a rhythm...
An artist's oeuvre is like a story where there are highs and lows, quieter moments and tumultuous ones, full stops, new paragraphs, exclamation marks, new chapters. An artist's oeuvre is like a symphony where different instruments create nuanced melodies, sometimes punctuated with points of immense emotion, both loud and soft. An artist's oeuvre is like an anthology of poems, where some poems are short and others long; where some rhyme and some don't; where different 'strokes', such as simile, metaphor, alliteration and more are used to emphasise, suggest and provoke.
So, what I am saying is that the question Kathryn, how long did it take to paint this painting? cannot be truly answered!
One way to deflect from giving a mundane answer about actual time, is to suggest that any conversation a painting may trigger, whether it is with oneself or with others, actually 'finishes' a painting.
Paintings can potentially have a multiple of completions. There 'lives' extend beyond the studio and gallery in a dynamic way!
Friends have sent me the actual The Independent [UK] newspaper from March 7 where my painting graced the front of the paper's International Women's Day feature. Here's a photo below of the painting and the paper together.
The painting is She was not made out of his head to surpass him, nor from his feet to be trampled on, but from his side to be equal to him, and near his heart to be dear to him. [Jamieson-Fausset Brown Bible  Commentary] Oil on linen 80 x 120 cm 2009
And, with reference to my post above and the question I am often asked ... you can take a guess!
Here's my post from March 10.

Wednesday, April 15, 2015


Paradigm Shift Oil on linen 40 x 50 cm
Way back when I was studying for my Bachelor of Arts degree, at the University of Queensland, I took a year long subject called The History Of Science. It was the most fascinating course, delivered by one of the best lecturers I ever had, Prof Mac Hamilton. In his lectures, which were more like discussion sessions because there were so few students taking the course, every idea and concept was intellectually stimulating. In essence the subject was a history of the philosophy of science and Prof Hamilton introduced us to an array of different approaches. The lock-step historical approach, that I was more accustomed to, was definitely not on the cards! This course had a profound influence on the way I viewed education and learning.
One of our text books was Thomas S. Kuhn's 'The Structure Of Scientific Revolutions' first published in 1962. We used the second edition, published in 1970. Kuhn's concept of paradigms and paradigm shift associated with 'scientific revolutions' intrigued me, even as a 19 to 20 year old. Over the years I have often returned to Kuhn's book. Taking the concept of a paradigm more generally, what causes major shifts in perspective, that then lead to new ways of thinking? Or, how do new ways of thinking, reveal new perspectives?
It's funny how the past sows seeds which may not flower until decades later. Regular readers will know where I am going with this! Yes, my intense interest in perspective! Yes, it's imbedded in a variety of my experiences, studies and ponderings. It is also something I learn about as I work through a painting. The process of thinking about a painting, then actually painting it, not only draws upon knowledge of all kinds, but also produces new knowledge, thoughts, insights...and perspectives.
This painting, like many of my paintings, is deliberately ambiguous. Yes, the title provides a departure point, but the painting offers a number of possibilities. The two red circles seem to hover. But are they above, in front of, below, immersed in the landscape-like background? Well, that's up to you dear reader to decide for yourself.
The red circles are similar to another recent painting called In Sight where  two red target-like circles/eyes help me play with and investigate words - 'In Sight' - 'Insight' - 'Incite' and connotations of gun sights, camera lenses and more. In Paradigm Shift the target/scope-like appearance of the red circle on the left suggests perspectives gained from peering into a gun scope, camera or micro/telescope... or any other kind of scope readers may think of.
Detail from In Sight Oil on linen50 x 70 cm 2015
Yet, as I write these words 'gun scope, camera or micro/telescope' I have physical and emotional reactions to them...each different and each multi-layered. The mention of the word 'gun' obviously conjures different feelings to the word 'camera' and again with thoughts of a microscope or telescope. However, each thing that the words describe enables targeting. But, as we all know targets can be missed, over-reached, under-reached and overexposed. What can targeting, accurate or not, metaphorically mean? The potential for 'revolution' exists in both accuracy and not.
The red circle on the right, takes on a target-like appearance, only by association with its accompanying red circle. If the other red circle was not there, the circle with the tree-of-life inside it, could be considered like a womb or a vessel. Well, it still can, but the presence of possible malevolence makes the tree-of-life, representing all of existence, more vulnerable. On the other hand, if the 'targeting' by the left red circle is the perspective of a microscope or telescope, the tree-of-life takes on a more positive cosmological metaphor.
Many commentators, from inside and outside the scientific community, suggest the 21st century is a turning point for our planet and humanity. Existential risk, from things like human-made technologies to natural space driven disasters, is now a serious concern and area of scientific study. We may have a choice now, but for how the 'tree-of-life' vulnerable or not?

  • My entry in the Moreton Bay Art Awards 2015 has been selected as a finalist.
  • I have again been invited to participate in the $30,000 Tattersall's Club Landscape Art Prize. This is an invitation only art award, and I am thrilled to have been invited again. The award takes place in September.
  • Just in case you missed it, Kirsten Fogg, from The Belonging Blog, wrote a wonderful piece Kathryn Brimblecombe-Fox: Visual artist and cosmic explorer about me and my work. I LOVE the title she gave the article, especially the cosmic explorer bit...

Thursday, April 09, 2015


It's Everything Oil On linen 50 x 50 cm

It's everything!
Every planet, universe, piece of cosmic dust
thought, blessing, emotion
Every drop of water, tear, atom
Every kind of scape, seen and unseen

My new painting posed some problems for me. I loved it, but what was I going to title it? I know I was thinking expansive thoughts when I was painting it, but the few title options I had come up with seemed too limiting.  And, Untitled seemed lazy and vacuous.

So, I was discussing my dilemma with one of my young adult children. After playing with a few title possibilities I heard myself say 'It's everything really...everything.' Ah Ha...I thought...there's the title! And, young adult 'child' agreed.............It's Everything


Can you see everything?

If not, can you see multiple things or possibilities?

'Fly' in your imagination to places beyond, spaces inside. Skit around the if you are playing on the foreshores of the ocean. Allow the 'water' to take you, let the 'sand' swallow you, invite the 'sky' to engulf you...all at once!

Yes, regular readers will know where I am going with this...seeing multi-perspectives simultaneously!

As I have previously written, cosmology is imploring us to traverse new and exciting perspectives of close and far distances. The revelatory nature of dynamic perspective is promising, enticing, seductive...and a little scary and forbidding. Why? It might mean we need to change!

  • My entry in the Moreton Bay Art Awards 2015 has been selected as a finalist.
  • I have again been invited to participate in the $30,000 Tattersall's Club Landscape Art Prize. This is an invitation only art award, and I am thrilled to have been invited again. The award takes place in September.
  • Just in case you missed it, Kirsten Fogg, from The Belonging Blog, wrote a wonderful piece Kathryn Brimblecombe-Fox: Visual artist and cosmic explorer about me and my work. I LOVE the title she gave the article, especially the cosmic explorer bit...


Thursday, April 02, 2015


Perspective Oil on linen 36 x 36 cm 2015
Firstly a shout out!
A wonderful woman called Kirsten Fogg has written a really terrific article Kathryn Brimblecombe-Fox: Visual Artist and Cosmic Explorer about me and my work for her BLOG The Belonging Blog.
Kirsten explores what it means to belong- when, where, how - or not to belong!
In my last post In Sight I mentioned I was working on another of my tree-of-life paintings. got wiped.
Yes, another one of those paintings that just did not work out. But, as I wrote in an earlier post Sometimes Things Just Do Not Work Out  when things do not work out, it is simply part of the ongoing overall process of creation. Really... it's a bit silly to flog something, just to get it finished, when every time you look at it there's a sense that it's not quite right. In the act of annihilation, when you see it as part of a process, something else emerges. I've repeatedly found magic in these emergent places/spaces. The accidental, within a process, is often revelatory and refreshing. It forces a renegotiation, new insights, freedom even....and perspectives.
So that brings me to the painting above Perspective. This is not the painting that emerged from my lost tree-of-life! In fact that painting is still emerging. You will get to see it some time in the future.
Regular readers know of my great interest in perspective, literal and metaphoric. I suggest we need to develop skills in seeing multi perspectives, even simultaneously. In the 21st century it's imperative because cosmological research is revealing more and more about our Universal, maybe Multiversal, environment. Launching our imaginations beyond earth-bound horizons, opens us to new perspectives of ourselves, our planet and the vast environment beyond. In doing so we also untether landscape. It is released from Earth to embrace trajectories and scales that force us to think differently about how we orientate ourselves. Even the discovery of Earth-like planets, orbiting in the Goldilocks zone around distant stars, forces us to think of landscape! Indeed, to imagine another habitable planet, and some say there's a case for super habitability, we draw upon our imaginations to conjure images of what these planets might be like. And, we imagine ourselves in these 'landscapes'! As we do this we begin to orientate ourselves within Universal scales. Landscape, imagined or not, is like a magic carpet which keeps us 'grounded' and seemingly provides safety.
The whole of the Universe/Multiverse, across all temporal and special scales, is essentially the broadest sense of the word. We exist within this landscape of multiple scales, just as we exist within the known landscape of Earth. How we relate to and depict landscape orientates us not only physically, but also emotionally and spiritually. Identity is closely tied to landscape, whether it be urban, country, desert, the ocean...more often a combination brought together over time. As I have previously written, when we die we literally return to landscape. And, at some stage in the distant future, as a result of our sun's death throes, Earth will return to the Universe as cosmic dust.
My painting Perspective is a landscape, but unsurprisingly, an ambiguous one. Is the viewer above a landscape? If so, what kind of human-made features have formed a cross with a circle near centre? Maybe some kind of farming or mining landscape? But, rather than being above a landscape, maybe the viewer is looking through support strainers of a fence? Or perhaps scaffolding on a deep sea oil rig? Ah Ha! Maybe the viewer is looking out towards the night sky, whilst lying under a pergola? Or maybe looking through a telescope or camera?  Maybe it's a secret map providing clues to where golden treasure is buried?
Maybe the 'golden treasure' is the ability to see multiple perspectives...even simultaneously?
A couple of other landscape posts: [There's heaps actually]

Tuesday, March 24, 2015


In Sight Oil on linen 50 x 70 cm 2015
In Sight
 Capacity to gain an accurate and deep understanding of someone or something
Regular readers know of my keen interest in perspective. Now...that word perspective has a plethora of possibilities associated with it. It literally means observations of or with sight, of pupil and eye-ball kind. But, it can also carry metaphoric associations of insight, of mind's eye kind.
I recently read a fantastic Huffington Post article Terminator Robots and AI Risk by Meia Chita-Tegmark, who is a PhD candidate at Boston University and a founder of the Future of Life Institute, which I have mentioned in previous posts. Using arguments that humans embody their fears in order to somehow render them less fearful, she foreshadows even more fearful outcomes if we persist in embodying fear of artificial intelligence in the form of robots, killer robots etc. She explains that artificial intelligence is not moving bits and pieces, but the unseen aspects of code, information, data Chita-Tegmark writes My fear is instead that, like with any representation that reveals some things and hides others, what the terminator robot reveals is simply something about our mind and its biases, while hiding the real dangers that we are facing. Further on in the article she says, But what is the price we pay for the sensation of fear that we need to nurture through embodied representations? I believe the price is blindness to the real danger.

Chita-Tegmark's article is a perfect example of insight founded in deep understanding and intelligent reflection. I would also say it is an example of someone with clear sight of where blindness may occur. With her knowledge and experience she has shifted perspective and provided humanity with an important warning, an invitation to also shift perspective. But, will we?

I suggest to change perspectives we need disruptive insights into human nature, such as those expressed by Chita-Tegmark. Makes me think of a word that sounds the same as insight...incite.
Please read her article and visit the Future of Life Institute website.

In Sight Oil on linen 50 x 70 cm
This painting plays with lots of my favourite things...perspective, ambiguity, landscape, cosmic clues. The only element missing is my much loved age-old transcultural/religious tree-of-life! Wait till you see the painting I am currently working on though!

The landscape in In Sight is familiar, yet the colourful round balls cast a sense of the unfamiliar. They provide a cosmic clue that this landscape may not be Earth...but then again it might be? By questioning the landscape's locale it immediately untethers it from Earth-bound horizons, forcing a shift in perspective.

As I have written previously, I believe that in the 21st century cosmological age we need to re-think what 'landscape' is, what it means to us and how we represent it. If we can take 'landscape' into our universal/multiversal environment, the possibility of revealing new perspective of us, our planet and the universe/multiverse are possible. In shifting our perspective of landscape, we shift ourselves...well...we are part of the landscape, operating in its domain in a variety of ways! Imagine if we do not develop our sight and insight beyond Earth's familiar terrain...maybe it could become the domain of what Chita-Tegmark describes as menacing arrangements of zeros and ones. We could be left behind!

We may have already been...left...behind...?

In the painting, direct attention is drawn to the two balls with gun-like sights targeting them. Being caught in cross-hairs, literally and figuratively, is not a pleasant feeling. Yet, these sights need not be malevolent. They could be representative of telescopes trained on potential new planetary homes...but for whom? They could be camera lenses seeking out definition, a record of hope? And, yes they could also be malevolent!

Let's shift perspective...

I deliberately placed the two gun-like sights as if they were 'eyes' looking back at the viewer/s. But, are they human 'eyes' or maybe they are symbolic of Chita-Tegmark's menacing arrangements of zeros and ones, or maybe they are indicators of extra terrestrial intelligence...aliens! The sense of being 'watched' and recorded is pervasive in the 21st century. Think of the debates about our online behaviour, the data it generates and how and why it might be retained...and by whom or what?

In Sight Oil on linen 50 x 70 cm 2015 DETAIL

Yet, have I fallen into the trap Chita-Tegmark warns us about? Is my claim that the gun-like scopes are like 'eyes' just another embodiment of fear? Well, it might be...but I suggest that deliberate ambiguity, the plethora of things these 'eyes' could be and the play with shifting perspectives means I have not been caught in the trap. I'd like to think my 'play' may even expose possible cures for blindness. Maybe that's one of the most exciting things art can do? Maybe art has a capacity to incite change in unexpected ways?

Some related posts:
In Between Things: Interstellar Even
The Horizon Has Disappeared
Shared Landscape...In The Multiverse
The Value Of Landscape

For those of you who have not seen the news about one of my paintings being chosen for the front cover of The Independent [UK] newspaper's International Women's Day feature please check out my post Round Objects and UK News

My next exhibition will be 21 July - 2 August in Brisbane, Queensland, Australia.
I am playing with a few titles for the is:


It suggests that artificial intelligence is in a list.
For me it's...
a list of

On that 'Cheery' note!



Tuesday, March 17, 2015


Future oil on linen 92 x 102 cm

Of The Universal 
And Maybe The Multiversal Kind
Regular readers know of my interest in existential risk. They also know of my fascination with cosmology. These two interests inter-relate.
Cosmology, the study of the Universe [maybe even the Multiverse], makes it very clear that we humans are new arrivals upon the trajectory of Universal/Multiversal time, space and distance. We did not exist for a very long time. The Universe is about 13.8 billion years old and we, Homo Sapiens, arrived in physical form only around 200,000 years ago...just a blip really! Check out the Big History Project's fascinating series Humans for more information.
So, we were definitely not around for a very long time. This perspective of the past makes our future seem quite vulnerable. How? There's no guarantee that the trajectory of the Universe/Multiverse will take us along for the full journey, whatever that may be. In the 21st century, a number of realisations and issues compel us to examine existence in different ways to existential ponderings of the past. Today, scientists, philosophers and a plethora of other thinkers and researchers, study the risk of real catastrophic risks that may lead to human extinction. These real possibilities include human-made and natural threats. The human-made ones are things like bio-terrorism, nuclear threat, rampant and uncontrolled artificial intelligence and much more. For further information on existential risks please visit Cambridge University's Centre for the Study of Existential Risk fascinating site and the Future of Life Institute in the USA.. You'll see that science fiction's parameters need to be re-negotiated to acknowledge that some fictions are now being considered as distinct possibilities, especially in the area of artificial intelligence..
A cosmological perspective of time, is humbling. If we humans want to stick around, we have to seriously think about our behaviour, abilities and the future. Apart from human-made risks there's the issue that our Sun will not exist forever. Yes, it's got about 4 billion years to go, but it will make life on Earth very uncomfortable long before its ultimate demise. Even without the other smorgasbord of risks facing humanity, our Sun will ultimately cook us or force us to leave to find another planetary home/s. Indeed, many thinkers including Stephen Hawking see humanity's continued existence as contingent upon an interplanetary settlement.
But, humanity's continued existence, does not necessarily mean we will be like we are now. For instance the need for interplanetary travel and settlement may mean forced mutations in order to survive. It may mean artificial intelligence integrates with us, so that downloaded minds 'exist' is physical forms that are not flesh and blood. I did say some science fictions need to be re-negotiated to the realms of possibility and thus serious research! If you'd like to read a thoughtful and detailed analysis of artificial intelligence check out The Singularity: A Philosophical Analysis by David J Chalmers. Others fascinating thinkers to check out are Nick Bostrom and Jaan Tallin.
So to my new painting FUTURE
Yes, it is ambiguous! Regular readers know I like ambiguity. Well, I certainly don't have THE answers in order to be less ambiguous, but I do have questions, musings, wonderings. I am engaged and I have fun with this engagement. It's like playing in a sand pit, where the sand slips and falls, but as it does this, I am entertained, become thoughtful, and I learn.

Future looks cosmological. The Universe seems to open up, maybe like an eye? This 'eye' sees... at the same time as beckoning us forward into its glow. There's promise. For me it is both past and future, because the future is always present-as-potential in the past. Maybe that's the promise?

Even though Homo Sapiens appeared only 200,000 years ago, the birth of the Universe created the 'dust' that ultimately lead to life on Earth, including us. 'Dusty' connections back to the source, give hope that they continue, in some form or another, into the future. Indeed, even if we humans are cooked by a dying Sun, we'll return to the cosmos as dust...literally!

And, who knows where that may lead?
 Gate Oil on linen 100 x 100 cm 2011
Viewers have seen an eye is this painting too!


Tuesday, March 10, 2015


She was not made out of his head to surpass him, nor from his feet to be trampled on, but from his side to be equal to him, and near his heart to be dear to him. [Jamieson-Fausset Brown Bible  Commentary] Oil on linen 80 x 120 cm 2009
Previous post HERE

I know...the painting above does not have any round balls. However, it does have some NEWS from the UK.
She was not made out of his head to surpass him, nor from his feet to be trampled on, but from his side to be equal to him, and near his heart to be dear to him. [Jamieson-Fausset Brown Bible  Commentary] was the feature image on the front of UK's The Independent [March 7 2015] International Women's Day supplement.
Needless to say I am thrilled with the exposure. Also, thrilled because the opportunity came out-of-the-blue. LOVE! LOVE! out-of-the-blue opportunities!
And, I am thrilled that my painting was seen as a meaningful addition to International Women's Day 2015.

The painting is from a series of works themed to the Adam and Eve story. You can see more of them at Adam and Eve-and THAT Tree

Now to round balls.
Objects Oil on linen 85 x 147 cm

In my last post Objects I discuss the seemingly endless things the round balls in the painting Objects [above] could be. These range from the tangible to the not-so tangible.

I also discuss the painting in reference to the relatively new theory Object Oriented Ontology...OOO. I have links to info about OOO in the Objects post.

Regular readers may realise that I often use round balls in my paintings.

So, here's a mini online exhibition of some of these paintings for you.

Cosmic Landscape Gouache on paper 21 x 29.7

Cosmic Landscape is a new work on paper. I am playing with landscape...and regular readers know I like to do this. The round balls could be planets or moons. They could be human-made probes. Maybe alien spaceships? Unlike in Objects the balls are oriented within a landscape that is clearly identifiable as one. Yet, they appear to be floating thus giving a 3d appearance. Without the balls the landscape 'speaks' for itself. The balls, however, disrupt the landscape suggesting alternative narratives and possibilities. Maybe the balls are symbolic of these possibilities?

And...mentioning 3d...many of my paintings do 'go' 3d when viewed with 3d glasses. Here's a previous post where I 'discuss' 3d!
Landscape Of Everything Oil on linen 80 x 140 cm 2012

I wrote in my previous post for Landscape Of Everything [above]

When I was painting this image I had many many different thoughts going through my head, cascading in and out, provoking panic, excitement, fear, wariness, joy and more. There were so many thoughts that when I came to give the painting a title, nothing seemed adequate, until I came up with Landscape of Everything.
I go onto to write about all my thoughts...and you can read about them HERE. Maybe the balls are symbolic of the various thoughts I had when painting it?
Yet, even though the title has the word 'landscape' in it...there is no identifiable landscape. But, regular readers will know I am teasing out the possibilities of landscape across scale, dimension and time. Yes...untethering landscape from Earth-bound horizons!
This is a favourite painting of mine. Really happy with it...hurrah to the fellow who bought it!
Are We There Yet? Oil on linen 80 x 140 cm 2013

And, here are some blue balls! They seem to suggest a trajectory, as if a balloon has been let go. As in Cosmic Landscape there is an identifiable landscape, yet an ambiguous and unusual one. The title Are We There Yet? plays on that question children often incessantly ask on long trips...well they did when I was a kid and when my children were younger. Now though, I suspect portable and imbedded entertainment devices might distract children from noticing time. You can read more about this painting HERE

Multiple Choice Oil on linen 100 x 70 cm 2015

And...that brings me to another new painting featuring coloured balls...Multiple Choice

The title says it all really...don't you think?


Monday, March 02, 2015


Objects oil on linen 85 x 147 cm
Why did I call this new painting... simply... Objects?
Well, it's not really that simple! The title belies the possibilities.
Regular readers know that I like to 'play' with perspective, orientation and distance. I find a kind of compelling enjoyment in creating images that are somewhat ambiguous. I believe it makes people think, step outside their comfort zones, become more playful...wonder.
So, let's discuss Objects
Given that I have a great interest in Space...of the outer Space could think that the round balls are planets. With a cosmological view/perspective, the balls become almost endless in their possibilities. Well, that's what I think anyway!
What could they be?
They could be Universes...there is a tantalising theory that we exist not in one Universe, but in a Multiverse. I first read about the theory in Lord Martin Rees's wonderful book Just Six Numbers. I have since read a lot more about the various theories of a Multiverse and my thoughts appear in my paintings!
And, talking about 'thoughts'...the round balls could be just that...thoughts.
They could also be atomic or even subatomic entities existing in their own smaller-than-small 'environments'.  
They could be bits of cosmic dust, balloons, bubbles, endless full-stops! We could be looking through them or from behind, or from above or below...maybe all perspectives at once?
They could symbolise a plethora of things...philosophies, eons, the juggle of life.
And, of course the painting itself is a object...that has relational capacities not only with its external environment of other things, including us, but with its own plethora of possible visual depictions.
This brings me to OOO - Object Oriented Ontology, a new 21st century theory of things...a theory that everything is an object and that existence [the ontology bit] is about how things relate to things . Yes, we are a thing too, so not elevated to a significant otherness, but well and truly within the reality of thing-ness. Here's some extra reading for you Dr Ian Bogost's What Is Object Oriented Ontology: A Definition For Ordinary Folks and Dr Graham Harman's OOO blog Object Oriented Philosophy. Dr Harman is considered a founder of the philosophy.
Pale Blue Dot [After Carl Sagan] Oil on linen 120 x 160 cm 2014
Late last year I made a presentation at a OOO symposium called Seeing Things at the Queensland University of Technology. My presentation was called Cosmic Perspectives and I suggested that there is a fascinating correlation with the arrival of OOO and a rise in awareness and study of existential risks. I suggested that as existence is perceived to be more vulnerable to massive degradation or complete annihilation we have a need, albeit probably subconsciously driven, to restore reality from post-modern slipperiness to...well...realness. For example classing climate change as a thing/object, that embraces many other things/objects within its ambit, subtly shifts it from a kind of nebulousness to a more specific or 'concrete' state of object-hood. And, thus it seems easier to actually do something about a thing or an object! Think about the increasing number of articles written about possible doomsday outcomes of artificial intelligence, robots etc...from taking human jobs to deciding that we are not necessary! Many articles [you can Google] have been written about the loss of jobs; from doctors, lawyers, drivers to accountants and more. Yes, white collar, professional and blue collar. There's something very real about losing your job...and there's enormous anxiousness about mass career/job destruction.
Reality can be a sledge hammer! But, maybe we need the 'wakeup call'?
Now there's a thought...maybe the balls are dreams......?
After The Implosion  Some reflections upon Post-Modernism.
TESTIMONIESMy Mum's exhibition Testimonies is up! Here are the details.

My Mum, Elsie Brimblecombe, has been exhibiting her paintings for a few years now. She is inspired by the written word. Each of her exhibitions has been themed to a particular writer and book/poems.
This year's exhibition is a series of paintings inspired by the modern Greek poet Yannis Ritsos . The two paintings below will be in Elsie's exhibition.
Place: Upfront Club - 31 Maple St, Maleny, Queensland, Australia.
Dates: 20 February - 18 March 2015
Please check the Upfront Club for opening times - they open from 7.30 am 7 days - you can have breakfast, lunch, dinner, morning and afternoon tea there, but just check what days they open till late etc. They also have live gigs there, so you could combine seeing some art and listening to music!