2000s
Prints
‘The Origin of the Species Act I’
Lithograph
55 by 75cm, 2008
‘‘The Grasshoppers’
Lithograph
22 by 18cm, 2008
‘Giant Robber Fly: edition 3 of 17’
Etching
23.5 by 18.5cm, 2008
‘Valley’
Etching
30 by 44cm, 2005
‘Kangaroo’
Lithograph
20 by 29cm, 2005
‘Tournament’
Lithograph, watercolor
30 by 47cm, 2004
‘Cornucopia’
Lithograph
55 by 75cm, 2008
Kevin Mortensen is a pivotal figure in the realm of Australian performance art; through his pioneering concept of ‘animated sculpture,’ he eloquently illuminates the intricate interplay between sculpture and performance. By delving into the realms of Zen Buddhism and advocating for alternative narratives, Mortensen skillfully shines a light on the profound themes that often underscore the world of performance art. His unique approach challenges traditional boundaries, inviting viewers to ponder the deeper meanings inherent in the fusion of stillness and movement within the realm of art.
‘Giant Robber Fly’
Lithograph
9 by 18cm, 2008
‘Aerial Landscape III’
Etching
29 by 46cm, 2005
‘Crucifixion’
Lithograph
22 by 79cm, 2000
In Mortensen’s solo works, the figure and the sculptural setting coalesce to form a compelling tableau. Absent spoken language 'he that speaks does not know', Mortensen skillfully weaves a wordless narrative, a visual event that captivates the viewer.
This storytelling quality is most pronounced in his performances, where he delves into ritual processes like the re-enactment of 'primitive' or ancient rites. Through these enactments, the artist embodies the role of a shaman, envisioning the ability to mend the ailments of a fractured society.
Mortensen's autobiographical pieces offer a fascinating insight into the artist's life, blurring the lines between existence and artistic expression.
‘Man and Beast’
Lithograph
30 by 44cm, 1998
‘Tealeaf Reading in Smith Street’
Lithograph
63 by 45cm, 2009
‘Back country I’
Watercolor
53 by 73cm, 2009
‘Seascape’
Watercolor
33 by 41cm, 2004
‘Night Seascape’
Watercolor
15 by 23cm, 2004
‘Night Sky’
Watecolor over Etching
56 by 76cm, 2008
‘Tempest’
Watercolor and Lithograph
44 by 68cm, 2000
‘Ghost Moth Tupalik’
Graphite
83 by 59cm, 2000
‘Playing to the Deaf Society’
Pencil and Ink
76 by 66cm, 2007
‘Study for Birdman mask’
Pencil and Ink
2006
‘Untitled’
Charcoal
62 by 49cm, 2009
Joseph Beuys made a profound impact on Mortensen, primarily due to the rich symbolism present in his artworks. His pieces not only embodied spiritual values but also delved into the unique characteristics of various materials. For example, Beuys explored how iodine differed drastically from bone, alongside substances like sulphur and iron, creating a nuanced narrative within his creations.
The metaphysical quality present in Mortensen’s paintings is rooted in his unwavering dedication to the landscape, transcending the changes wrought upon Australian farmlands by industrialization. Despite the dwindling rural populations, the challenges faced by indigenous communities in asserting land rights, and the pervasive environmental damage, Mortensen's work continues to draw inspiration from the essence of these altered terrains. In a contemporary context, landscape painting stands as a testament to a bygone era, its relevance often perceived as out of sync with the modern world.
‘Shell Valley’
Watercolor and Pastel
22 by 53cm, 2000
‘Study for The Path of War’
Pencil
12 by 20cm, 2003
‘On the road to Triholm’
Graphite
30 by 21cm, 2002
‘East Africa’
Watercolor and Pastel
35 by 50cm, 2007
‘New Australian Interior’
Watercolor, Ink and Pastel
62 by 107cm, 2000
‘East Africa II’
Watercolor, Ink
57 by 82cm, 2007
‘Turkey’
Watercolor, Ink
57 by 82cm, 2007
‘Untitled’
Oil on Linen
180 by 120cm, 2003
Mortensen’s assault on the image of the body is intricately intertwined with concerns regarding the environment and the passage of time. Simultaneously, his art serves as a conduit for unearthing suppressed spiritual insights. Mortensen's modernity stems not solely from the intrinsic worth of his creations, but rather from his insatiable adaptability. His work epitomizes a ceaseless amalgamation of vastly diverse visuals, literature, and methods, underlined by an unwavering endorsement of the capacities of artistic expression.
‘Untitled II’
Oil on Linen
180 by 120cm, 2003
‘Dancing under the gun’
Painted Plaster Relief
49 by 64cm, 2009
‘Study for a state of enlightenment’
Ink Collage
40 by 32cm, 2001
‘The monkey and the dog’
Graphite
32 by 23cm, 2002
‘Monkey’
Graphite
30 by 23cm, 2002
‘Studies for Ingen Angst’
Graphite
34 by 26cm, 2002
‘Night Seascape’
Watercolor
15 by 23cm, 2004
‘Enough’
Watercolor Collage Ink
17 by 24cm, 2004
‘Northern Victoria’
Watercolor Ink
30 by 47cm, 2008
‘The Explosion’
Oil on Linen
97 by 136cm, 2007
‘Untitled’
Oil on Linen
180 by 120cm, 2003
‘Untitled II’
Oil on Linen
180 by 120cm, 2003
‘Aerial Map III’
Oil on Canvas
175 by 125cm, 2000
‘Mexican Hat Dance’
Painted Plaster Relief
49 by 64cm, 2009
‘Commodification of Nature’
Painted Plaster Relief
49 by 64cm, 2009
‘Woodpile’
Etching with Watercolor
40 by 60cm, 2000
‘Tournament’
Etching
30 by 47cm, 2004
‘Emily’s dream’
Lithograph
43 by 64cm, 2009
‘‘The Grasshopper and the Trout’
Lithograph
24 by 18cm, 2008
‘Howqua Browns: edition 2 of 17’
Etching
23.5 by 18.5cm, 2008
The difference between conventional, narrative theatre and their own personal practices, in the realm of the visual arts, it is apparent that some forms of performance art present a return to narrative after decades of abstraction in painting. This trend is particularly evident in performances that concentrate on ritual processes, such as the re-enactment of ‘primitive’ or ancient rites. Artists often take on the role of a shaman, believing they can heal society through their art. Additionally, autobiographical works have emerged, showcasing the life of the artist as art, blurring the lines between the creator and the creation.
‘Australian Back III’
Lithograph, watercolor
49 by 88cm, 2000
‘Venus’
Lithograph
20 by 29cm, 2000
‘River Debris’
Hard Ground Etching
15 by 20cm, 2000
‘Birdman returns to camp’
Etching
0 by 47cm, 2004
Watercolors
‘The Large Gum’
Watercolor and Pastel
25 by 35cm, 2007
‘Shell Valley’
Watercolor and Pastel
22 by 53cm, 2000
‘Playtime’
Watercolor
17 by 25cm, 2003
Graphite and Pencil
‘Heap’
Pencil and Ink
15 by 20cm, 2000
‘Study from Melbourne to Cape York’
Graphite and Ink
13 by 20cm, 2003
‘Bush Dance’
Charcoal
56 by 76cm, 2006
‘The Naughty Monkey’
Graphite
30 by 23cm, 2002
‘Sugar on a string’
Graphite
22 by 23cm, 2002
‘Compassion’
Graphite
30 by 26cm, 2002
‘Bush Dance II’
Charcoal and Pastel
56 by 76cm, 2006
Ink
‘The Large Gum’
Watercolor and Pastel
25 by 35cm, 2007
‘Playtime’
Watercolor
17 by 25cm, 2003
‘H.C. Anderson’
Collage Ink
21 by 29cm, 2008
Oil on Linen, Canvas
‘Life over East’
Oil on Linen
180 by 120cm, 2003
‘Tidal Evidence’
Oil on Linen
150 by 215cm, 2003
Mixed Media
‘Goddess Screaming in a Garden’
Painted Plaster Relief
49 by 64cm, 2009
‘Leaping Fish and Sentinel’
Mixed Media
20 by 40cm, 2003
‘New Australian Interior’
Watercolor, Ink and Pastel
62 by 107cm, 2000
‘Untitled’
Watercolor
51 by 71cm, 2000
The careful arrangement of shadow and light, intertwined with deliberate strokes of erasure, creates a mesmerizing visual landscape that draws the observer into a realm of contemplation and introspection. Within the realm of Kevin Mortensen's artistry, the fusion of deep, murky tones and softer, ethereal shades serves as a gateway to a realm where emotions run deep and stories whisper quietly. Through this intricate dance of graphite and absence, Mortensen skillfully unveils the enigma of human existence, inviting viewers to delve deeper into the enigmatic beauty of his creations.
‘Koalas in the Chimney’
Graphite
30 by 23cm, 2002
‘Iron Men in Wooden Ships’
Graphite
30 by 23cm, 2002
‘Back country I’
Watercolor
53 by 73cm, 2009
‘Seascape’
Watercolor
33 by 41cm, 2004
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.
‘Party People’
Graphite
19 by 16cm, 2004
The use of charcoals as a creative tool dates back to ancient times, with its earliest known utilization observed in cave art. In these primeval artistic endeavors, cavern walls were adorned with intricate drawings crafted from charcoal, alongside a blend of various earth tones and bone materials. To ensure that these pigments adhered firmly to the rock surfaces, they were typically combined with saliva or animal fat, acting as binding agents for the ancient artists. Mortensen was aware of the history of ‘making marks’ and integrated this into his primitivism.
‘Monkey Business’
Ink
30 by 44cm, 2007
‘Sailors Knot’
Graphite
48 by 68cm, 2003
‘The teacher grabbed Mina’s hair’
Graphite
23 by 30.5cm, 2002
Ingen Angst: The story of Johannes Jens Christian Mortensen,as told by his son, Kevin Mortensen, to Vibeke Sybrandt. Lithographs and drawings by Kevin Mortensen.
‘Studies for Ingen Angst’
Graphite
34 by 26cm, 2002
‘Better to stay onboard’
Graphite
23 by 30.5cm, 2002
‘East Africa’
Watercolor and Pastel
35 by 50cm, 200
Transcending temporal and spatial bounds, Mortensen delves deep into a vast universe of embodied experience. His work is intricately designed to unlock new perspectives on history, place, and identity, offering a profound journey of self-discovery. Through a poetic contemplation of art, culture, science, and philosophy, Mortensen fearlessly challenges entrenched narratives, paving the way for a fresh reevaluation of contemporary thought.