2000s
Prints
“That’s partly from Duchamp. He was very influential, mostly in his beliefs rather than the works themselves. And one of his beliefs was not to repeat yourself, in order to maintain the uniqueness of the work. Perhaps I have a short attention span, or I don’t like working in series.”
“Now occasionally I find I do drawings in series but I’ve seen many artists who seem to produce the next show as a version of the last show and it’s very good for establishing your signature for the saleability of your work but, as far as creativity, it seems to be a bit of a suck, frankly.”
Exert from an interview with Deborah Edwards, 2017
‘Emily’s dream’ Lithograph 43 by 64cm, 2009
‘Howqua Browns: edition 2 of 17’ Etching 23.5 by 18.5cm, 2008
‘The Origin of the Species Act I’ Lithograph 55 by 75cm, 2008
‘Cornucopia’ Lithograph 55 by 75cm, 2008
'The Grasshopper and the Trout’ Lithograph 24 by 18cm, 2008
‘The Grasshoppers’ Lithograph 22 by 18cm, 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.
‘Giant Robber Fly’ Lithograph 9 by 18cm, 2008
‘Australian Back III’ Lithograph, watercolor 49 by 88cm, 2000
‘Valley’ Etching 30 by 44cm, 2005
Aerial Landscape III’ Etching 29 by 46cm, 2005
‘Kangaroo’ Lithograph 20 by 29cm, 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
‘River Debris’ Hard Ground Etching 15 by 20cm, 2000
‘Woodpile’ Etching with Watercolor 40 by 60cm, 2000
‘Tealeaf Reading in Smith Street’ Lithograph 63 by 45cm, 2009
‘Tournament’ Etching 30 by 47cm, 2004
‘Venus’ Lithograph 20 by 29cm, 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.
Watercolors
‘Back country I’ Watercolor 53 by 73cm, 2009 SOLD
‘The Large Gum’ Watercolor and Pastel 25 by 35cm, 2007
‘East Africa’ Watercolor and Pastel 35 by 50cm, 2000
‘Seascape’ Watercolor 33 by 41cm, 2004
‘Night Seascape’ Watercolor 15 by 23cm, 2004
‘Night Seascape’ Watercolor 15 by 23cm, 2004
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.
Shell Valley’ Watercolor and Pastel 22 by 53cm, 2000
‘New Australian Interior’ Watercolor, Ink and Pastel 62 by 107cm, 2000
‘Playtime’ Watercolor 17 by 25cm, 2003
‘Tournament’ Lithograph, watercolor 30 by 47cm, 2004
‘Tempest’ Watercolor and Lithograph 44 by 68cm, 2000
Graphite and Pencil
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.
‘Playing to the Deaf Society’ Pencil and Ink 76 by 66cm, 2007
‘Ghost Moth Tupalik’ Graphite 83 by 59cm, 2000
‘Party People’ Graphite 19 by 16cm, 2004
‘Study for Birdman mask’ Pencil and Ink 2006
‘Heap’ Pencil and Ink 15 by 20cm, 2000
Study from Melbourne to Cape York’ Graphite and Ink 13 by 20cm, 2003
Monkey Business’ Ink 30 by 44cm, 2007
‘Untitled’ Charcoal 62 by 49cm, 2009
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.
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.
‘Bush Dance’ Charcoal 56 by 76cm, 2006
‘Sailors Knot’ Graphite 48 by 68cm, 2003
‘The Naughty Monkey’ Graphite 30 by 23cm, 2002
‘The teacher grabbed Mina’s hair’ Graphite 23 by 30.5cm, 2002
‘The monkey and the dog’ Graphite 32 by 23cm, 2002
‘Sugar on a string’ Graphite 22 by 23cm, 2002
‘Monkey’ Graphite 30 by 23cm, 2002
‘On the road to Triholm’ Graphite 30 by 21cm, 2002
‘Studies for Ingen Angst I’ Graphite 34 by 26cm, 2002
‘Studies for Ingen Angst II’ Graphite 34 by 26cm, 2002
Joseph Beuys made a profound impact on Mortensen, in part due to the rich symbolism present in his artworks. His pieces not only embodied spiritualistic values but also delved into the unique characteristics of various materials. For example, Beuys explored how iodine differed drastically from bone, alongside substances like sulfur and iron, creating a nuanced narrative within his creations. Mortensen felt a deep and profound connection with Beuys, driven by their shared beliefs and a genuine reverence for Beuys's remarkable influence on the art world.
‘Studies for Ingen Angst III’ Graphite 34 by 26cm, 2002
‘Koalas in the Chimney’ Graphite 30 by 23cm, 2002
‘Compassion’ Graphite 30 by 26cm, 2002
‘Iron Men in Wooden Ships’ Graphite 30 by 23cm, 2002
‘Better to stay onboard’ Graphite 23 by 30.5cm, 2002
‘Study for The Path of War’ Pencil 12 by 20cm, 2003
‘Birdman returns to camp’ Graphite 43 by 55cm, 2006
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.
Oil on Linen and Canvas
‘Aerial Map III’ Oil on Canvas 175 by 125cm, 2000
‘The Explosion’ Oil on Linen 97 by 136cm, 2007
‘Life over East’ Oil on Linen 180 by 120cm, 2003
‘Untitled’ Oil on Linen 180 by 120cm, 2003
‘Untitled’ Oil on Linen 180 by 120cm, 2003
‘Untitled II’ Oil on Linen 180 by 120cm, 2003
‘Tidal Evidence’ Oil on Linen 150 by 215cm, 2003
‘Untitled II’ 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.
Mixed Media
‘Mexican Hat Dance’ Painted Plaster Relief 49 by 64cm, 2009
‘Goddess Screaming in a Garden’ Painted Plaster Relief 49 by 64cm, 2009
‘Dancing under the gun’ Painted Plaster Relief 49 by 64cm, 2009
‘Commodification of Nature’ Painted Plaster Relief 49 by 64cm, 2009
‘H.C. Anderson’ Collage Ink 21 by 29cm, 2008
‘Leaping Fish and Sentinel’ Mixed Media 20 by 40cm, 2003
‘Study for a state of enlightenment’ Ink Collage 40 by 32cm, 2001
‘Mallacoota’ Oil and Bitumen 120 by 180cm, 2004