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‘For as long as I can remember I have been drawn to the intricate beauty of nature.’

 

Like most Aussie kids Janine grew up spending a lot of time in the outdoors where she became 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, she 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. Janine’s 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 – she 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 Janine attempts to capture. Rather than depicting a particular place the aim is 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, her intention is to express the inherent beauty and individuality of eccentric forms.

 

Janine’s 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 are analogous of the life process symbolic of various layers of meaning from intricate detail to apparent obscurity.

In my search to find a connection with Nature I began using seedpods as a metaphor for womanhood and new beginnings, then came a fascination with the amplified imagery from bark of River Red Gum (Eucalyptus camaldulensis).”

 

The initial attraction to the bark of these ancient trees was its potential to act as a historical reference, recording the marks of time since before European settlement in Australia. During the process of translating the minute detail of imagery into paintings, a transformation into a surreal world of textures, colour and organic forms occurs. Figurative elements often appear surprisingly without intention. It is this element of surprise that sustains her fascination with the imagery - it feeds the imagination.

“My work is always an exploration of what can happen when images are merged and layered. I never plan the outcome, the work is always improvised - the potential to discover something is what connects me with the work.”

 

Janine has always felt privileged to live in Australia’s unique environment with a desire to promote its beauty. Through her art she is 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. 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.

- Janine Good 2007 & 2011

 

Footnote 1: Sacred Places in Australia by James Cowan, Simon & Schuster, 1991, p.12.

 

 

 

 

‘(S)He to whom Nature begins to reveal her open secret

will feel an irresistible yearning for her most worthy interpreter ...Art’                       

-Goethe (1749-1832) German writer, artist, politician

 

Nature & Art Statement

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Nature Theme 2
Nature Theme 3
Nature Theme 1
Nature Theme 4
 Nature & Art Statement
Nature Theme - 1
Nature Theme - 2
Nature Theme - 3
Nature Theme - 4

Seeking Nectar - Triptych

Acrylic & Oil on 3 canvases, 122 x 183 cm

Finalist: The Waterhouse Natural History Art Prize 2011

Purchased Private Collection