Artist Name: NATALIE ANNE O'CONNOR
Artwork Title: REDNESS #4
Medium: Watercolour on Paper
Size: 53 x 41cm
About the Artist:
Natalie O’Connor is an artist, researcher, and educator. Her experience in the international colour manufacturing industry has heavily influenced her practice. She holds a Bachelor of Education and a Master's degree. Most recently, she was awarded a PhD at UNSW for her thesis, The Nature of Redness- A Practice-Based Research into Red Pigments to Offer a New Understanding of Material Colour.
Her practice and thesis are concerned with the permanency and fragility of colour and the technical innovations of the artist’s palette that result from a collaborative dialogue between artists and scientists since the early nineteenth century. She engages deeply with the colour red, investigating its materiality and revealing its inherent qualities of colour.
By understanding and experiencing the delicacies of each red pigment, scientists explore the potential for colour-making in the future. This allows the new potential for contemporary artists to make informed choices with their palettes to interpret the world around them.
O’Connor’s current artwork, The Gol Gol Layer Colour Observations, has developed over the last ten years and consists of a series of experimental observations of a unique landscape in remote Australia. Each installation examines the inherent qualities of each red-coloured artist's pigment in response to the oldest red layer at Mungo, Willandra Lakes World Heritage Area, and the changes over time. These installations have been exhibited in numerous public and private galleries, including Woollahra Gallery at Redleaf, Articulate Project Space, Hazelhurst Regional Art Gallery, Charles Sturt University Gallery, Broken Hill Regional Art Gallery, Concordia Gallery and Griffin Gallery, London UK.
Artist Statement:
Redness #4 by Natalie O’Connor is an artistic interrogation of red-coloured pigments, inextricably linked to place. It has layers, testifying to the evolution of time, and the intervention and interactions, at times intrusive, of those who inhabit the earth and plumb its depths. Having made several expeditions to the remote and ancient plains of Mungo, a place where the earth is literally immersive, O’Connor has experienced at once the durability and transience of the earth’s redness; the concealing and revealing with the wind and shifting light of its deep strata.
Colour is in the earth, layered to its core. Here, the geological tides speak of the birth of life itself, fleetingly revealing the most ancient of reds in the deepest layer of the earth. For O’Connor, the privilege of sitting on the Gol Gol ground and touching and tracing the transient, all-time trajectory of the landform may have brought her closer to glimpsing the elusive spirit and nature of the pigment that fascinates her so much.
In her latest series, The Nature of Redness, Natalie O’Connor sets up glass vessels lined with paper and filled with a solution of red pigments and water. The gallery space becomes a laboratory in which O’Connor seeks to interrogate and distil the very essence of colour. Over time, the pigments leach onto the paper, leaving a trace, like an ebbing tide, or an errant and sometimes elusive signature.
For O’Connor, red is the most propelling of colours; an ancient pigment, sacred across time and culture, associated with ritual, power, life and death. Her practice, therefore, is at once clinical and passionate, calibrated and energetic, as she tries to capture and chronicle the depth and breadth and indeed the very nature of the red pigments.
Statement adapted from essay by Jo Morrow