Aaron Kinnane’s effervescent new collection is a poetic meditation on the land and sea, referencing the landscape around Bulahdelah where the artist recently relocated. Visceral, wintry folds of paint pulsate with energy, as if the oil membrane can barely contain the life force buzzing beneath its leathery surface. ‘Each stroke is a force of life; a breath in the landscape’ says Kinnane. Using his palette knife as a material extension of his psyche, Kinnane reconstructs impressions from his subconscious in a dance of raw intuition and analytical precision. His images appear as hazy memories, revenant visions lingering in the liminal space between form and formlessness. Passionate swathes of oil conjure turbulent seas, stark snowfields, rugged peninsulas and leafy wilderness – atmospheric landscapes that elude demarcation. Guided by colour, movement, suggestions and smears, our brains fill in the gaps: ‘our minds and souls resonate and connect with the rhythm, the movement, the undulations, nuances, and decipher the code’. Kinnane’s bruised and scarred topographies evoking turbulent seas, stark snowfields, rugged peninsulas and leafy wilderness elude demarcation exude feelings of isolation, yet it is a contented solitude that speaks not of despair but of hope.
For the first time, Kinnane has also created hand carved wood sculptures, crafted en plein air with tree trunks from a disused plantation forest on his property. Considering the works as a collaboration with the previous owner and the Chinese Empress trees he planted, Kinnane contemplates the poetry of reimagining a man’s failed dream. He carves, chisels and chars the trunks, waiting for new life to bloom from the ashes of the past. As totemic synecdoches for the plantation, the sculptures traverse the gap between real and represented landscapes.