Artist Statement
For as long as I can remember I have been drawn to the intricate beauty of nature.
Like most Aussie kids I grew up spending a lot of time in the outdoors where I was
fascinated by objects such as seed pods, various types of rocks, feathers, shells,
leaves and tiny creatures. Devoid of symmetry and perfection, bearing the scars of
time, these objects are infinitely diverse in shape, size, structure and colour.
Intrigued by their diversity, I imagined the history behind them – how they were
formed, how they got there and how long ago?
Living in a landscape as ancient and time-etched as Australia, objects such as these
can become part of a natural jigsaw, constructing a history as old as time. Australian
monuments are ancient trees and landforms rather than ruins. In Central Australia
rock carvings made by ancient people date to well before the pyramids or European
civilisation. In this geographic rather than social time-line, modern society pales
into insignificance. My vision of Australia is one of colour, light, space and a
natural energy, mysterious and powerful. At various times whilst visiting certain
places throughout the country – places generally with limited impact from modern
culture – I have experienced a presence or unexplained energy. Aboriginal people
recognise a spiritual connection exists between invisible energy lines within an
environment, sometimes referred to as Djang1, which can be aligned with the Chinese
principle of Feng Shui. These places are not necessarily considered aesthetically
beautiful in the traditional European sense so the response is not purely visual.
This is the essence I am attempting to capture. Rather than depicting a particular
place I attempt to translate this sense into the objects found in the environment
as part of the blueprint of the whole. In a world with emphasis on false perfection,
often through human intervention, my intention is to express the inherent beauty
and individuality of eccentric forms.
My artwork reflects an exploration of patterns and rhythms that echo throughout
the landscape, from vast panoramas to fragments of peeling bark that exist as a microcosm
of the whole. Imagery is layered in consecutive paint applications to simulate various
elements, for example washes of water, waxy layers of growth, scraped and splattered
to simulate the effects of time - the final image evolving incidentally. These layers
to me are analogous of the life process symbolising various layers of meaning from
intricate detail to apparent obscurity.
I have always felt privileged to live in Australia’s unique environment with a desire
to promote its beauty. Through my art I am searching for an Australian essence –
something unique to identify with, unmistakably of this country. Natural elements
surround all but those who live in inner city environments, where attempts are made
even there to soften the environment using native gardens. To me the unique quality
of the landscape - the vastness of our open space is priceless and contributes
to the love of the outdoors felt by most Australians.
April, 2007
Sacred Places in Australia by James Cowan, Simon & Schuster, 1991, p.12.
Janine’s CV
Janine Good
Painting ~ Drawing ~ Printmaking
PO Box 126 Drouin 3818 PH (03)5625 3107
Email:j-good@bigpond.net.au
