1970-80’s
In 1973, Kevin Mortensen engaged in a unique collaboration with John Davis for an untitled installation performance featured at the Spring Festival held at St Paul's Cathedral in Melbourne. Throughout the span of ten days, Mortensen captivated audiences by donning goat's head regalia amidst the church services. As part of their installation, Mortensen and Davis meticulously placed a variety of 'prayer mats' and animal heads on diminutive columns encircling the baptismal font. The duo illuminated the sacred space with an array of candles and small oil lamps, imbuing the setting with a mystical aura that intrigued and mesmerized spectators.
Early Years
‘Untitled’
Pen
24 by 34cm, 196
‘Even the hairs on your forearm III’
Photograph
29 by 39cm, 1980
‘Garden View’
Graphite
35 by 24cm, 196
‘Even the hairs on your forearm II’
Photograph
29 by 39cm, 1980
“We hit a snag now, Deborah. I have trouble calling myself an artist, for several reasons. The first one would be that from my time in Venice I learnt that Leonardo [da Vinci] was renowned for his attitude. On his death bed he said, ‘What a pity I am dying today because I felt sure that tomorrow I would be an artist’. That imprinted in my psyche..”
Extract from an interview with Deborah Edwards, 2017.
‘Cassowaries II’
Photograph
38 by 29cm, 1980
‘60 Ways to Fool a Trout’
Photograph
58 by 48cm, 1981
‘Cassowaries’
Photograph
29 by 38cm, 1980
‘Kinetic Sunrise’
Photograph
39 by 58cm, 1985
‘Untitled’
Watercolor and Ink
55 by 76cm, 1981
‘Tense Man’
Pastel
29.5 by 20.5cm, 1989
‘Arcadia Revisited’
Pastel
33.5 by 26.5cm, 1989
‘Skybrace’
Lithograph
35 by 53cm, 1986
‘Untitled Gun’
Watercolor
16 by 26cm, 1985
‘Camping’
Pastel
34.2 by 26cm, 1989
In the 1970s, Mildura emerged as an unexpected hub of avant-garde artistic expression in Australia. Spearheaded by the innovative direction of Tom McCullough, the Mildura Sculpture Triennial, held at the local Arts Centre, transcended its origins as a mere sculpture showcase. Instead, it evolved into a daring exploration of contemporary artistic forms that pushed boundaries beyond what traditional state art institutions could fathom or embrace.
‘Fire Break, Venus Bay’
Graphite
18 by 26cm, 1988
‘Beach Head’
Watercolor
57 by 40.5cm, 1988
‘Shoreline’
Lithograph
60 by 85cm, 1987
‘Light Summer Masks’
Pen
55 by 75cm, 1987
The local press interpreted the event as a satanic ritual, although Mortensen notes that many churchgoers simply accepted his presence. He seemed to seamlessly blend in with the 'normal' congregation, as fellow parishioners politely handed him the prayer books and collection plate as they went along. Despite the initial shock, a sense of tolerance seemed to prevail among the worshippers, highlighting Mortensen's ability to navigate diverse social settings with ease.
‘Cassowaries I’
Photograph
38 by 29cm, 1980
‘Study for The Rowing’
Pencil
52 by 75cm, 1977
‘Even the hairs on your forearm’
Photograph
29 by 39cm, 1980
‘Even the hairs on your forearm’ is a profound representation of the spiritual essence prevalent in Kevin Mortensen's artistic vision. The artwork features two enigmatic figures, reminiscent of birdmen, elegantly positioned within the vast celestial realm. One of the figures strikes a pose reminiscent of classical Egyptian art, radiating an aura of timeless enigma, while the other mirrors Mortensen's iconic posture from his renowned display at the Venice Biennial 1977. Together, these celestial entities form a captivating scene that freezes a transcendent moment in the nocturnal heavens, evoking a deep sense of the divine and conjuring images of ethereal deities silently observing the cosmos in profound contemplation.
‘Cassowaries’
Photograph
29 by 39cm, 1980
‘60 Ways to Fool a Trout’
Photograph
18 by 26cm, 1981
‘The Second Clearing’
Pastel and Ink
50.5 by 35.5cm, 1984
‘The Walk’
Watercolor
50 by 32cm, 1985
Watercolor, Ink and Pastel
Kevin Mortensen’s ‘Delicatessen’ was a thought-provoking art installation that utilized a temporary shop front as its canvas. To enhance the experience, the artist brought in an actor to portray Eddie Rosser, a character who was a returned veteran managing the shop. Inside the space, striking sculptures of animal carcasses dangled from old hooks, remnants of the shop's previous incarnation. Interestingly, a significant portion of the audience consisted of shoppers from the nearby Woolworths, drawn in by curiosity rather than a specific interest in art. Remarkably, the actor continued to engage with the community even after the rental period ended, seamlessly blending into the fabric of the neighborhood's daily life.
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.
‘Atom Spy’
Watercolor, Pastel
29.5 by 20.5cm, 1989
‘Copper Rises, Sugar Falls’
Watercolor, Pastel
49 by 71cm, 1980
The Opening Leg Show Bizarre was a unique blend of celebration and entertainment, transforming into a captivating party and performance venue. Attendees were immersed in a surreal experience, moving through various 'rooms' where different captivating events unfolded. Guests adorned in elaborate costumes witnessed a peculiar spectacle ranging from a doctor demonstrating bandaging skills on a figure in a bull's head mask to professional ballroom dancers gracefully moving to an unconventional soundtrack by Russell Dreever and Bob Thornycroft. Additionally, a local gym instructor showcased a bold muscle-man routine while donning an eagle's head costume. Amidst the eclectic performances, Mortensen himself stood out, donning a head-dress teeming with a mesmerizing community of white moths, adding to the enigmatic ambiance of the event.