1990s
Aerial Landscapes
‘Back with Bra’
Copper Etching
48 by 92cm, 1999
‘Fertilizer distribution in the mid-west’
Watercolor
33 by 50cm, 1991
‘Untitled’
Watercolor
22 by 66cm, 1990
As the sun dipped below the horizon in the summer of 1998, Kevin Mortensen embraced his role as The Bird King, drawing inspiration from the Danish tradition of Fugle Kong. Rowed gently across the tranquil waters of Lake Burley Griffin to his designated mound, he was accompanied by his faithful dog, Lucy.
Amidst the peaceful setting, the sounds of chirping crickets and singing birds intertwined harmoniously, creating a serene atmosphere further enhanced by the soft melodies of Pat Freeman's music playing in the background.
‘Toxic Tide’
Watercolor and Pastel
49 by 92cm, 1992
Kevin Mortensen’s intrigue with this distinct viewpoint of aerial imagery and its correlation to the contours of the human figure is prominently displayed in pieces such as ‘Back with bra,’ capturing the vastness of the Australian outback—a passion he cherished throughout his lifetime.
‘In comes the cleaner’
Copper Etching
49 by 92cm, 1999
Performance in the 90’s
‘Display of the Bird King, Lake Burley Griffin, Canberra II’
Photograph
18 by 23cm, 1998
‘Landfall’
Lithograph
43 by 61cm, 1994
‘The Explosion’
Lithograph
23 by 63cm, 1994
‘Cactus Wine’
Lithograph
43 by 61cm, 1994
‘Floating Moons’
Watecolor
4334y 50cm, 1991
‘Racial Memories’
Watercolor and Pastel
90 by 135cm, 1999
‘Cave Bear of Montespan’
Pastel
20.5 by 29cm, 1998
‘Untitled (Cross and Net) Study for Installation 1’
Pencil
10 by 15cm, 1990
‘Shopmask for a seabied’
Lithograph and pencil and pen
55 by 66cm, 1997-2003
‘Spiral Mound’
Pastel
38 by 26cm, 1991
Kevin Mortensen has long been associated with performance Art in Australia, having exhibited at the Venice Biennial in 1977 where he performed his well known piece, ‘Even the hairs on your forearm grow in the same direction as the feathers on a bird’. Curiously that year both Australian artists were mired in controversy as both were arrested at some point during the exhibition, Mike Parr for selling Yellow Cake shaped like the country of Australia and Mortensen for nudity without a permit.
‘‘Display of the Bird King, Lake Burley Griffin, Canberra III’
Photograph
49 by 92cm, 198
‘Like a River System’
Copper Etching
48 by 92cm, 1999
‘Autumnal Landscape’
Watercolor
23 by 52cm, 1999
‘Untitled Landscape’
Copper Etching
48 by 94cm, 1999
‘Display of the Bird King, Lake Burley Griffin, Canberra I’
Photograph
18 by 23cm, 1998
‘Display of the Bird King, Lake Burley Griffin, Canberra IV’
Photograph
18 by 23cm, 1998
Lithographic Prints
‘The Fourth Day when Apparitions began to Appear’
Lithograph
45 by 62cm, 1994
‘Sucking the sail’
Lithograph
39 by 56cm, 1991
Watercolor and Pastel
‘Opening Legshow’
Watercolor
53 by 73cm, 1990
‘Japanese Fox’
Pastel
43 by 48cm, 1991
Modern Art
‘Mad Sculptors Society’
Mixed Media
53 by 73cm, 1990
‘Kinetic Sunrise Study’
Pen and Pencil
29 by 18cm, 1997
‘Night Sky in Larbatouche Cave’
Lithograph
45 by 66cm, 1992
‘Untitled’
Watercolor
53 by 73cm, 1990
The use of watercolors and pastels has long been a defining feature of Mortensen's artistic creations, showcasing a profound level of creativity and emotional depth within his work.
‘The Sculptor and the Sculpture’
Pastel over Watercolor
49.5 by 36cm, 1990
‘The Eternal Birdman’
Collage Pencil
19 by 15cm, 1990
The use of watercolors and pastels has long been a defining feature of Mortensen's artistic creations, showcasing a profound level of creativity and emotional depth within his work.
‘Sea at Night’
Oil on canvas
85 by 97cm, 1995
‘The Last Sunset’
Lithograph
41 by 61cm, 1994
Lithography and printmaking have played a crucial role in Kevin Mortensen's artistic repertoire. His poignant series delves into the life journey of his father, John Mortensen, as he embarked on the emotional odyssey of emigrating to Australia. Each artwork within this collection meticulously weaves together visuals that narrate this compelling saga, capturing the essence of familial bonds and the nostalgia of a bygone era.
