REMOTE - Sarah Brown Solo

REDOT FINE ART GALLERY presents

REMOTE Sarah Brown Solo

16 November – 24 December 2016

Gallery 1

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c o n t e m p o r a r y

f i n e

a u s t r a l i a n

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Women’s Mountain and Men’s Mountain Walungurru (Kintore) 550kms West of Alice Springs, home of Western Desert Dialysis Source: © Photo Courtesy of Sarah Brown

REMOTE – Sarah Brown Solo The ReDot Fine Art Gallery is delighted and extremely honoured to host Sarah Brown’s inaugural overseas show, REMOTE. REMOTE is a collection of 45 works on canvas and gesso boards, a stunning body of work inspired by the magnificent Western Desert Landscapes and Sarah’s lifechanging contributions in Indigenous communities, which captures the audience with its honesty and profound connection to country.

Sarah Brown is a remarkable woman. Not only is she an extremely talented and inspirational artist, based in Alice Springs, but also a nurse, health care worker and she was instrumental in setting up the Purple House, the headquarters for the Western Desert Nganampa Walytja Palyantjaku Tjutaku (WDNWPT), a health organisation for Indigenous communities which translates as ‘keeping all our families well’.

In the last decade WDNWPT has established and continues to operate eleven remote Indigenous community dialysis centres, which have become a beacon of hope in a chronic epidemic which sees Indigenous Australians suffer renal failure at a rate 15-30 times higher than national average.

Whilst Sarah is the CEO of WDNWPT, and her every working hour is spent supporting the Indigenous communities, she finds painting is a release. A nocturnal activity that allows her to reflect, consider and attempt to order the no doubt chaotic professional path she has chosen to pursue. Her work is in exceptionally high demand as collectors are captivated by her ability to render the imagery of the Western Desert that she has been servicing as a nurse for almost 25 years.

Sarah deals with a dark subject matter and the afflictions that confound modern Indigenous Australia on a daily basis; nonsensical actions, premature deaths, idiotic institutional interference; all of this with an optimistic “pommie” smile because Sarah has a calling, and if truth be told its not painting, not because her artwork is not stunning, or that it’s not appealing to almost everyone that sees it, but because her calling is caring.

Caring for the remote Indigenous people of the central desert and providing renal care for some of the most disadvantaged members of Australian society, that is where Sarah Brown shines brighter than anyone I have ever met.

She is so good at her job, that nothing however good it might be would be able to stand shoulder to shoulder with the achievements of the Purple House and its dialysis caring programme and so “her passion” has remained a hobby, a way to make sense of the daily madness.

However, during those quite small hours of the night, when most of us sleep, in her suburban Alice Springs dwelling, Sarah recreates the places that have become home to her, sometime forlorn places, desolate and mystical places, turning them into shimmering gems that are full of hope and possibility, alive and beautiful. Sarah brings the desert to the world.

REMOTE has been an 18-month labour of love for Sarah and I, we have discussed it almost daily, argued about it weekly and fallen more in love with it monthly… Some of the collection have challenged every sinus of Sarah’s artistic core, which will take your breath away and want you to submerge yourself into the “Sarah in Wonderland World” that has so inspired me and I am sure will inspire you too.

Welcome to Kintore Sign Source: © Photo Courtesy of Sarah Brown

She makes me want to be a better person, which for those of you familiar with me will attest is a feat very few have ever managed to achieve. She is quite simply wonderful, ridiculously annoying but wonderful.

Sarah says her influences are several: Impressionist and post-Impressionist painters; local artists’ work, especially Rod Moss’, from whom she had some technical guidance early on in Alice Springs. But her true influences are much more profound than any of those – they are simply the influence of life, of leaving a mark and giving back. In a world full of hardship and inequality, she works relentlessly to leave a better mark, a more humane mark and a lasting mark from her remote Australian outback posting, and every one of her works achieves this with authority and that “uniqueness” that is Sarah Brown, mongrel dog!

The exhibition begins on Wednesday 16 November and runs until Saturday 24 December 2016, with an official opening night on Thursday 1 December 2016, which will also be attended in person by Sarah. A must-see show for anyone interested in understanding the current plight of modern day Indigenous health issues and also to see the beauty of the Australian outback through the eyes of a remarkable woman and artist.

Giorgio Pilla Director ReDot Fine Art Gallery

Evening Storms Sweep in to the Desert Quickly in Summer, Bringing Welcome Relief from the Scorching Days Source: © Photo Courtesy of Sarah Brown

Patrick Tjungurrayi and Sarah Brown in front of a Purple Truck Mural Source: Š Photo Courtesy of Brierty Justin and The Centralian Advocate

Sarah BROWN Birth Date Place of Birth

1968 England

In the Northern Territory of Australia where Sarah Brown has lived for the last 24 years, being called a mongrel dog is not necessarily a derogatory term. Australian humour is typically ironic, dry, and contrary. Mongrel dogs – of which there are many in the outback – are brave, ingenious, adaptable, tough and extraordinarily tenacious. All of these are qualities which Sarah embodies, and which were noted fondly by fellow artist and Territorian Chips Mackinolty, when he opened one of her Alice Springs exhibitions and compared Sarah to a mongrel dog.

Chips was also referring to Sarah’s other calling – as the pre-eminent advocate for Indigenous people living with renal disease in central Australia.

Over the last 24 years Sarah has worked in many remote Northern Territory communities as a nurse and health educator; has had three children; developed as an artist; and established in Alice Springs the Purple House, the headquarters for Western Desert Nganampa Walytja Palyantjaku Tjutaku (WDNWPT) which translates as ‘keeping all our families well’.

WDNWPT is the leading organisation in its field in Australia. In the last decade it has set up and operates eleven remote Indigenous community dialysis centres, with more to come.

Sarah was born in England and arrived in Australia in 1974 with her family. She grew up in Maryborough on the Queensland coast where she started both painting, and had her first three exhibitions, and discovering Australia’s Indigenous cultural history. She then trained in nursing and as a health educator in Sydney and Adelaide and soaked up the creative stimuli of those cities.

In 1992 when Sarah arrived in the Northern Territory as a newly-minted 24-year-old health professional, she was sent immediately to teach Aboriginal health workers in Kintore, a 550km drive from her new home base in Alice Springs.

There was no time for making art in those early years of remote travel; solitary posts as a Remote Area Nurse (RAN); and raising three children under five. The urge to paint was insistent however and after Sarah had painted the walls, ceilings and all the cupboard doors at home, family consensus was that she had better start on canvas.

Since 2005 Sarah has had eight solo exhibitions and shown work in five group shows.

Her medium is acrylic (her first work in Maryborough was in watercolour) and she starts each canvas with a deep red ground, mixing her colours from a deliberately limited palette of white, red, yellow and blue.

Her style is deceptively simple; her effects are achieved by a precise observation of the light on her subject – the landscape – making it appear palpable: a sensuous experience.

Sarah says her influences are several: Impressionist and post-Impressionist painters; local artists’ work, especially Rod Moss’s, from whom she had some technical guidance early on in Alice Springs; and over-arching and ever present the extraordinary, unique, ancient, intensely alive landscape of central Australia.

Awards 2009 People’s Choice Award - Advocate Art Award, Alice Springs, NT, Australia.

2008 Excellence Award & People’s Choice Awards - Advocate Art Award, Alice Springs,

NT, Australia.

2007 Places Prize - Advocate Art Award, Alice Springs, NT, Australia.

2006 Highly Commended - Advocate Art Award, Alice Springs, NT, Australia.

1985 Grand Champion - Maryborough and Wide Bay Show, Maryborough, QLD, Australia.

Selected Solo Exhibitions 2016 REMOTE - ReDot Fine Art Gallery, Singapore.

2015 Blue - Paul Johnstone Gallery, Darwin, NT, Australia.

2014 Travels Without Morrie - Araluen Cultural Precinct, Alice Springs, NT, Australia.

2013 Waiting for Rain - Paul Johnstone Gallery, Darwin, NT, Australia.

Desert Life - M16 Artspace, Canberra, ACT, Australia.

2012 Back of Beyond - Tuggeranong Art Centre, Canberra, ACT, Australia.

2011 Zing! - Cross Cultural Art Exchange (CCAE), Darwin, NT, Australia.

2010

1987 1986 1984

Travels with Morrie - Araluen Cultural Precinct, Alice Springs, NT, Australia.

Just Around the Corner - Peta Appleyard Gallery, Alice Springs, NT, Australia.

Wide Bay Art Gallery, Maryborough, QLD, Australia.

Wide Bay Art Gallery, Maryborough, QLD, Australia.

Wide Bay Art Gallery, Maryborough, QLD, Australia.

Selected Group Exhibitions 2012 Centred - Group show with Cross Cultural Art Exchange, Darwin Entertainment

Centre, Darwin, NT, Australia.

2011 Skylines - Olive Pink Botanic Gardens, Alice Springs, NT, Australia.

Shift - Studio 12, Araluen Cultural Precinct, Alice Springs, NT, Australia.

2009 Studio 12 Artists’ Collective - Peta Appleyard Gallery, Alice Springs, NT, Australia.

2005 Beginnings (Joint Exhibition with Ron Talbot) - Central Australian Art Society,

Alice Springs, NT, Australia.

“Painting is an excuse to really LOOK. To soak up your environment. To cherish the moment.

I will never understand this country like Pintupi, but I can appreciate its beauty.�

Sarah Brown

ARTWORKS ON BELGIAN LINEN

Sarah BROWN Trephina Gorge Acrylic on Belgian Linen 200 x 200cm SB201610019

BIG! I love painting BIG! I had to stand on a chair to paint the top third of this painting, which was hard after a long day at work! This painting is one of my children’s favourite spots. Imagine boys with too much energy and little fear, climbing up the rocks on the left bare foot and jumping into the hot soft sand at its base!

Trephina Gorge – Work in Progress (SB201610019)

Source: © Photos Courtesy of Sarah Brown

Sarah BROWN Lovely One Acrylic on Belgian Linen 138 x 200cm SB201610007

I really enjoyed painting this picture. It’s the claypans and big enough to lose yourself in for days! If you look closely you can see how I paint. All red and then basic shapes drawn in, in a mix of red and blue (which makes the darkest colour I use) and then layered small strokes placed over the red. I only use red, blue, white and yellow and I mix the colour with each brush stroke. It’s a little time consuming, but there’s plenty of time to think! Sometimes it’s a balance between undercooking and overcooking! It’s good not to lose all the red! I called it ‘Lovely One’ because when I showed a photo of it to some of the mob at the Purple House, that was the response! High praise from some fantastic Western Desert Artist super stars!

Lovely One – Work in Progress (SB201610007)

Source: © Photos Courtesy of Sarah Brown

Sarah BROWN Walungurru Acrylic on Belgian Linen 123 x 198cm SB201610018

Walungurru is the Pintupi name for Kintore. Kintore is 550km west of Alice Springs, not far from the Western Australian border. Papunya Tula artists are there and it was the place that people dreamed of having a dialysis machine so they could get family home. I have been visiting Kintore since 1992! It is my favourite place to be. I never tire of painting this country. In this picture I wanted to capture a complex sky, full of water and both Men’s and Women’s mountains. This is some of the country that the Papunya Tula Artists paint in such a different way!

I didn’t want to overwork this canvas. I wanted to keep the transient nature of the clouds and the way the sun is lighting up parts of the hills and not other parts due to the cloud pattern. For me, it reminds me of my first trip out to Kintore all those years ago. I fell in love!

Walungurru – Work in Progress (SB201610018)

Source: © Photos Courtesy of Sarah Brown

xxx BROWN Sarah Trephina Ghost Gum xxx xxx Acrylic on Belgian Linen 138 x 197cm 122 200cm xx SB201610009

SGD (excluding GST)

If you feel the need to hug a tree, this is a good xxx one! Hundreds of years old, stunningly white and enormous! How many floods, fires, droughts has this tree survived? How many more will it live to see? From a distance the trunk looks flat and monochrome. But up close there is texture, there are little worlds for insects and lizards. It is incredibly complex!

Sarah BROWN Across the Claypans Acrylic on Belgian Linen 180 x 120cm SB201610017

It was the patterns of the shadows from the bushes on the pans which attracted me to this scene. You are looking down the hill and across the dried out country.

Sarah BROWN Near Big Hole Acrylic on Belgian Linen 153 x 122cm SB201610016

This great hill of spinifex is near Ellery Big Hole. I get to admire it when I come back from Mt. Liebig, ‘the pretty way’ which is via Haast Bluff. If you don’t cry with the beauty of this country, then there’s something wrong with you!

Sarah BROWN Looking towards Ntaria Acrylic on Belgian Linen 121 x 152cm SB201610002

This is a view from a hill at the back of the Claypans, Crown land about 10 minutes out of Alice Springs.

Even my Morris Minor can make it here! It’s a good spot to find bush medicine and to come when you’ve just got a bit of time. If you look east you see houses on 5 acre blocks, but if you look west there’s little sign that the country has changed over thousands of years. The blue haze of the mountains draw the eye out towards Honeymoon Gap. You can imagine jumping off and flying out towards Ntaria (Hermannsburg) one of the oldest and largest permanent settlements in Central Australia. We’ve helped people to get home on dialysis there for about 8 years now. I love the contrasts between the hills, the plains, the spikey spinifex and the ochre shades of the pebbles on the slopes.

Sarah BROWN Ormiston Gorge Acrylic on Belgian Linen 170 x 102cm SB201610003

Ormiston is a favourite spot on the West MacDonnell Ranges. It is different every time I visit. The country adapts quickly to any rain and the desert bursts into life to make the most of any moisture. The Range at the back of the Gorge changes colour at different times of the day and different seasons. Sometimes it’s almost violent orange. This day it was more subdued purples and pinks. I drive past Ormiston often on my way back from Mt. Liebig community. It’s a luxury if I have time to stop and visit this waterhole.

Sarah BROWN Claypans Water Acrylic on Belgian Linen 180 x 90cm SB201610006

Water in the desert is so exciting! It attracts animals, insects and people! The claypans are dry most of the time, but when there is rain, everyone goes bonkers! It is always interesting to see the colour of the water, the reflections and the colour of the red dirt mixed with the water. Sometimes the water is quite choppy from the desert winds. Other times it’s like a mirror. On this day there was a bit of wind distorting the reflections.

Sarah BROWN Abandoned Acrylic on Belgian Linen 106 x 152cm SB201610010

This old blue ute sat out at the rubbish dump in Kintore for many years! Many Pintupi people had stories to tell about who had owned it and where it had travelled. It became a tradition for me to go and say hello to it when I was in Kintore. Many hundreds of children have played in it and had their photos taken in it.

Each time I went out to see it, there was a little less of it there. Bones picked clean! Rusting into the landscape. Then one day I went to say hello and it was gone! Apparently a community clean up had happened and all the old cars had been crushed and taken off in a truck. It made me very sad; the end of an era.

Sarah BROWN Sandi’s Backyard Acrylic on Belgian Linen 153 x 102cm

This gorgeous Spinifex Hill is on the south side of ‘the Gap’ which is the entry to Alice Springs through a gap in the MacDonnell Ranges. Anyone who comes to Alice Springs from the airport or the South will see this hill. Sandi lives in a flat at the base of this hill. She’s a friend of my youngest son. The rock wallabies come down to be fed. Not a bad back garden!

Sarah BROWN Ernabella Acrylic on Belgian Linen 102 x 152cm SB201610015

I’m still trying to get my head around this country in the top part of South Australia.

Sarah BROWN Standing Tall Acrylic on Belgian Linen 151 x 102cm SB201610012

This tree stands in the back yard of a house just round the corner from my place.

Minding its own business. I wonder if it even gets noticed.

Sarah BROWN West MacDonnell Ranges Acrylic on Belgian Linen 101 x 152cm SB201610020

You could easily find a thousand things to paint in the West Macs! I like this spot because of the mix of spinifex, forest and ranges. And those couple of tiny little clouds, not much rain in them!

Sarah BROWN Todd River Acrylic on Belgian Linen 151 x 92cm SB201610014

The Todd River runs through the town of Alice Springs. Most of the time it’s dry and sandy. They say that if you see it flow three times or more you are going to stay in Alice Springs forever. So I’m completely buggered! It’s only a couple of blocks from my house. If it rains hard the roads across the river close. It’s about the only time when we get traffic jams in Alice Springs. The other time is when the Ghan train comes through twice a week.I love the fact that you could be in the middle of the bush, but this painting is really the middle of Alice Springs!

Sarah BROWN Reaching out at Trephina Gorge Acrylic on Belgian Linen 120 x 120cm SB201610001

Trephina Gorge is about an hour’s drive east of Alice Springs. It’s a stunning drive along the East MacDonnell ranges. The area is rich in sacred sites and rock paintings and carvings. The contrast of the huge white ghost gums against the cobalt blue sky and the orange ranges draws me back over and again. It also reminds me of camping trips with my boys when they were younger, chucking a few swags in the old 4WD and going after school, often with the boys still in their school uniforms and no shoes!

Cooking sausages on the fire and sleeping under the stars.

Sarah BROWN Musgrave Ranges Acrylic on Belgian Linen 120 x 120cm SB201610011

On the road to Pukatja, I was feeling pretty desperate that we would never get the SA government to say yes to dialysis, and there was definitely a storm coming!

Sarah BROWN Spinifex Acrylic on Belgian Linen 120 x 120cm SB201610013

This spinifex is out by the airstrip at Kintore. It’s what you get to see if you need to do a pee while waiting for your plane! The patterns and colours of the spinifex attract me. You need to watch it though. It’s tough and spikey and it stings! With no horizon visible it becomes almost semi-abstract.

Sarah BROWN Trephina Water Acrylic on Belgian Linen 110 x 91cm SB201610008

Another day, another waterhole! It’s hard to explain how excited we all get after rain!

It’s a nightmare in terms of logistics: wet slippery roads, risk of getting bogged, cancelled supply trucks to remote communities. But kids go swimming, people go out with their families for picnics, sometimes you can even catch a fish! I love the contrast between the desert cliffs and the water.

Sarah BROWN Hopeful Pukatja Acrylic on Belgian Linen 80 x 110cm SB201610005

This year I have had the opportunity to visit Pukatja (Ernabella) a few times as part of a long battle to try to get dialysis for the community. Sometimes I am driving solo and other times I’ve had company.

It is hard not to think about all the people I have got to know in Alice Springs who called this country home. These were people who had been forced to leave to access dialysis in Alice Springs. They talked about these hills all the time. It is hard to explain the spiritual and emotional trauma many Indigenous people face when forced to leave their sacred sites, their families and their hunting grounds. I am always mindful of how differently they see their country than I do. I’m looking at colours, light and form.

However I called this painting ‘Hopeful Pukatja’ as on this trip I was going with a more positive story about government support than previous trips.

“Country, family, ceremony, compassion.

These are the most important aspects for Pintupi wellbeing.

The opportunity to help people from remote communities to get home (with the help of dialysis and the Purple House) continues to be a great honour.

Not many people get the opportunity to help start something new, something that can change lives, build a culture of an organisation from the very beginning. This is what we have done together.�

Sarah Brown

ARTWORKS ON GESSO BOARD

Sarah BROWN Pukatja Spinifex Acrylic on Gesso Board 50 x 35cm SB201610041

It was a grey day. The spinifex was dry and they looked like balls of grey/green. It was an interesting, unstable sky. If it rains, this hill will burst into life the next week.

Sarah BROWN South Australian Sky Acrylic on Gesso Board 35 x 50cm SB201610042

This is another picture from my trip south to talk about getting people home to country on dialysis.

Often there is so much to do, and people haven’t got time to be patient! They are desperate to see their loved ones again. It is great to take a bit of time just to appreciate this amazing place and watch the wind blow the clouds across the sky.

Sarah BROWN Back of Kintore Acrylic on Gesso Board 35 x 50cm SB201610043

This spot is just around Kintore. There’s plenty to excite the eye. Pintupi will notice the lizard tracks and the bush tucker. I get led away by colour and shapes.

Sarah BROWN Women’s Mountain Acrylic on Gesso Board 40 x 40cm SB201610040

Occasionally Women’s mountain turns from pinks and oranges to a shadowy blue/purple. It had to be captured!

Sarah BROWN Spinifex Close Up Acrylic on Gesso Board 40 x 40cm SB201610045

I like the contrast between the spiky spinifex and the pebbles, each unique! It also feels like every spinifex bush has its own personality.

Sarah BROWN Oopie’s Place Acrylic on Gesso Board 30 x 40cm SB201610035

This is the hill Oopie sees every day. Not a bad place to live, despite the additional transport and lack of essential services. He likes to avoid the humbug of town.

Sarah BROWN Kiwirrkurra Storm Acrylic on Gesso Board 30 x 40cm SB201610036

It was the colours that attracted me to this sky. There is also a sense of danger for me as I had to get in a small plane and fly through this sky! It took us 10 years to get dialysis in Kiwirrkurra. When I visit now I am happy to see people back home on country!

Kiwirrkurra is 700km west of Alice Springs, in West Australia and the home of many fine Papunya Tula Artists.

Sarah BROWN Ormiston Gorge, Central Australia Acrylic on Gesso Board 30 x 30cm SB201512001

Sometimes when you visit Ormiston it is bursting with life and water and abundance. This day the waterhole was brimming and the tadpoles nibbled my toes!

Sarah BROWN Simpson’s Gap Acrylic on Gesso Board 30 x 30cm SB201512003

Even my Morris can get to Simpson’s Gap. It always reminds me of an egg timer with the sky between the ranges replicated in the water below.

Sarah BROWN Claypans after Rain, Alice Springs Acrylic on Gesso Board 30 x 30cm SB201512004

Muddy water, desert hills, blue sky. What a great spot to play with colour and try to capture that Sunday afternoon!

Sarah BROWN Rain’s Coming Acrylic on Gesso Board 40 x 20cm SB201610021

This is a sliver of Mac Ranges and sky, there’s build-up of a storm coming. This was a view of the ranges when I lived near the Gap.

Sarah BROWN Looking towards the Gap Acrylic on Gesso Board 20 x 40cm SB201610022

This view is from a hill at the Telegraph Station looking back towards Anzac Hill, through the Town to the MacDonnell Ranges. That late afternoon the sky became more muted and the colours on the ground deepened.

Sarah BROWN Haast Bluff Acrylic on Gesso Board 20 x 40cm SB201610023

Haast Bluff rises out of the desert like some relic of a dinosaur. It is spectacular and dramatic. This painting is a memory of a long day driving to Mt. Liebig and back for a meeting. The afternoon sun made the hills glow.

Sarah BROWN Morrie Acrylic on Gesso Board 20 x 40cm SB201610024

I drive a 57-year-old pommie car. A Morris Minor. She can’t really make it far out bush, but she can make it to the Claypans! She keeps me honest! I can’t speed, can’t go far and there’s no air-conditioning! (But I still love her... most days).

Sarah BROWN West Acrylic on Gesso Board 20 x 40cm SB201610025

This is the view from the painting with my Morris, but looking west instead of south.

Sarah BROWN Men’s Mountain Acrylic on Gesso Board 20 x 40cm SB201610026

Men’s mountain is in Kintore. It changes all the time. I have seen it shine from pink to deep purple. I’ve seen clouds roll over the top and hide the whole mountain.

I don’t often see it at dawn (I’m not a morning person) but I’m told that’s different again. This is a mid-arvo summer mountain!

Sarah BROWN Telegraph Station Acrylic on Gesso Board 20 x 40cm SB201610027

The Telegraph Station is just north east of the Alice Springs town ship. It is a walking, exploring, picnicking spot. But it is also where many Indigenous children were brought after being taken from their parents. It was known as the Bungalows. This sad history sits uncomfortably with its natural beauty.

Sarah BROWN Musgrave Ranges - Study Acrylic on Gesso Board 20 x 40cm SB201610028

This is me trying to get my head around different colours and shapes for Pitjantjatjara country. These little boards are great for trying to catch the essence of a place. Good fun!

Sarah BROWN Near Oopie’s Block Acrylic on Gesso Board 20 x 40cm SB201610029

Oopie lives on a block of land about 15 minutes’ drive from Alice Springs. I love dropping him home.

Sarah BROWN Along the Larapinta Trail Acrylic on Gesso Board 20 x 40cm SB201610030

The Larapinta Trail is a walking track which runs west from Alice Springs for a couple of hundred kilometres. It’s pretty full on! This is a section you can see from the comfort of your Morris Minor!

Sarah BROWN Near Pukatja - Study Acrylic on Gesso Board 20 x 40cm SB201610031

The country around Pukatja has similarities to the Western Desert, but subtle differences too. I have loved the opportunity to see a little bit of it this year and to talk to people on dialysis in Alice Springs about what it means to them.

Sarah BROWN Towards Alice - Evening Acrylic on Gesso Board 20 x 40cm SB201610032

This is on the drive from Ntaria (Hermannsburg) back to Alice Springs. I’ve done this journey many times for work. It never fails to impress!

Sarah BROWN Scrub - Kintore Acrylic on Gesso Board 30 x 30cm SB201610033

I love it when you just hang about on a bit of initially unexciting bush and start to notice the nuances, the different colours, shapes and textures. You often find something unexpected: a bleached snail shell, an interesting piece of rusty metal or a long forgotten marble.

Sarah BROWN Lovely Clouds Acrylic on Gesso Board 30 x 30cm SB201610034

These clouds reminded me of a cartoon or children’s drawing. They added a naive charm to this little scene.

Sarah BROWN Next to the Airstrip Acrylic on Gesso Board 24 x 30cm SB201610037

What else is there to do at the Kintore airstrip but explore the scrub?

Sarah BROWN Kintore Evening Acrylic on Gesso Board 24 x 30cm SB201610038

Why would you want to be ANYWHERE else?

Sarah BROWN Desert Stars Acrylic on Gesso Board 24 x 30cm SB201610039

Apologies to Van Gogh, but when you are out in the desert with no artificial light, you are forgiven for thinking the man’s a genius!

Work in Progress - Artworks on Gesso Boards

Source: © Photos Courtesy of Sarah Brown

In Sarah Brown’s Studio

Source: © Photos Courtesy of Sarah Brown

With Special Thanks to Sarah Brown

Sarah Brown in Studio with Discarded Paint Ball Source: © Photo Courtesy of Sarah Brown

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