1990s
Aerial Landscapes
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.
‘Like a River System’ Copper Etching 48 by 92cm, 1999
‘Back with Bra’ Copper Etching 48 by 92cm, 1999
‘Toxic Tide’ Watercolor and Pastel 49 by 92cm, 1992
‘Autumnal Landscape’ Watercolor 23 by 52cm, 1999
‘Fertilizer distribution in the mid-west’ Watercolor 33 by 50cm, 1991
‘Untitled Landscape’ Copper Etching 48 by 94cm, 1999
‘Untitled’ Watercolor 22 by 66cm, 1990
‘In comes the cleaner’ Copper Etching 49 by 92cm, 1999
Performance in the 90’s
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 who showed were mired in controversy as both came under the local constabulary’s attention at some point during the exhibition, Tony Coleing for selling Yellow Cake or yellow colored sponge cake shaped like the country of Australia (offending the lone food vendor at the exhibition) and Mortensen for nudity without a permit.
‘Display of the Bird King, Lake Burley Griffin, Canberra I’ Photograph 18 by 23cm, 1998
‘‘Display of the Bird King, Lake Burley Griffin, Canberra III’ Photograph 49 by 92cm, 1988
‘Display of the Bird King, Lake Burley Griffin, Canberra II’ Photograph 18 by 23cm, 1998
‘Display of the Bird King, Lake Burley Griffin, Canberra IV’ Photograph 18 by 23cm, 1998
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.
Lithographic Prints
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.
‘The Fourth Day when Apparitions began to Appear’ Lithograph 45 by 62cm, 1994
‘Untitled’ Lithograph 41 by 62cm, 1994
‘The Last Sunset’ Lithograph 41 by 61cm, 1994
‘Landfall’ Lithograph 43 by 61cm, 1994
‘Cactus Wine’ Lithograph 43 by 61cm, 1994
‘Sucking the sail’ Lithograph 39 by 56cm, 1991
Night Sky in Larbatouche Cave’ Lithograph 45 by 66cm, 1992
‘The Explosion’ Lithograph 23 by 63cm, 1994
Watercolor and Pastel
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.
‘Floating Moons’ Watercolor 43cm by 50cm, 1991
‘Opening Legshow’ Watercolor 53 by 73cm, 1990
‘Untitled’ Watercolor 53 by 73cm, 1990
‘Disquiet’ Watercolor 67cm by 146cm, 1995
‘Evening Bass Straight’ Watercolor 68cm by 200cm, 1995
‘Racial Memories’ Watercolor and Pastel 90 by 135cm, 1999
‘Cave Bear of Montespan’ Pastel 20.5 by 29cm, 1998
‘Japanese Fox’ Pastel 43 by 48cm, 1991 (sold)
‘The Sculptor and the Sculpture’ Pastel over Watercolor 49.5 by 36cm, 1990
Modern Art
‘Untitled (Cross and Net) Study for Installation 1’ Pencil 10 by 15cm, 1990
‘Mad Sculptors Society’ Mixed Media 53 by 73cm, 1990
‘The Eternal Birdman’ Collage Pencil 19 by 15cm, 1990
‘The Eternal Birdman’ Collage Pencil 19 by 15cm, 1990
‘Spiral Mound’ Pastel 38 by 26cm, 1991 ($3,500)
‘Kinetic Sunrise Study’ Pen and Pencil 29 by 18cm, 1997 ($1,500)
‘Sea at Night’ Oil on canvas 85 by 97cm, 1995 ($6,750)
“Around this time I was practicing Zen Buddhism and a suggested way of focusing the mind was to study a ball of string. to try to follow it layer by layer. This led to making coils of rope that the eye could follow and so the forms began to take shape.
Like the kilns those black natural looking forms could be placed in the landscape, some more visible than others.
As usual with such work things of an unexpected nature grew from the conceived work. Mobs of flies took to the objects, buzzing around giving the appearance that the objects were giant animal turds which appealed to my challenging instincts and away from the conservative dogma that stifled creativity.”
From Kevin Mortensen’s private notes.