German-born Madeleine Kelly, who arrived in Australia in 1980, is a visual artist who primarily works in painting. She majored with 1st class Honours in Fine Art from the Queensland College of Art, Griffith University in 1999, and her practice-led PhD was conferred by the same institution in 2013. Titled Picturing Archaeologies: The Meta-archaic aesthetic, Kelly’s dissertation examines the archaeological metaphor as an image-laden and mutable terrain. In particular, she engages – not without irony – with the descriptive capacity of Philosopher Michel Foucault’s archaeology of knowledge. Her creative work explores the materiality of images – in particular painting, as an earthen testimony figured from the ground that speaks of the primal frontiers of art, such as material transformation, as well as environmental contingencies. In this context, her work avoids dogmatism by depicting protean and rubric worlds.
Madeleine Kelly has been invited to exhibit in both public and private spaces, including GOMA Q: Contemporary Queensland Art 2015 curated by Peter McKay at the Queensland Art Gallery/Gallery of Modern Art, QLD and Primavera 2005 curated by Felicity Fenner at the Museum of Contemporary Art, Sydney. She has won several awards including the Melville Haysom Memorial Art Scholarship, and the 2004 Churchie Prize for Emerging Art. In 2005 she was the recipient of the Australia Council’s Paris Studio Residency, and in 2011 she received an Australia Council established artist’s grant for New Work. Her works have entered many public collections in Australia, including The Gallery of Modern Art/Queensland Art Gallery and several permanent university collections. She currently lives and works in Wollongong and lectures in painting at the University of Wollongong, NSW, Australia.
In my work I explore the materiality of things and seek to produce affects whereby the evocative nature of oil paint depicts translucent and transparent forms, outlines and indexical marks. Layers of paint build up strata and superimposed in order to create narratives that suggest the structural affinities between the micro and macro, and the ways in which materiality is in a constant state of growth, flux and decay. In many of my works, I explore diversity, fragmentation and the grotesque as positive tropes in order to rupture linear forms of knowledge and challenge dominant subjects of representation. Myth, archaeology and signifiers of natural resources conflate to suggest the systems that circulate knowledge and determine power.
From an art-historical perspective, my early works quote the language of the symbolists who were concerned with energy and entropy, namely the first and second laws of thermodynamics, while in later works, the form of the crevice functions in a number of conceptual ways. Its form lends shape to the split, and the dialectic of the split—a term that implies rupture — or in this case a contemplation of an archive. I am also interested in exploring themes of subjectivity, fragmentation and the construction, connotation and application of language. The Surface of Language used as its starting point a collection of stones containing a distinct line of quartz. This ‘law of the line’, combined with the form of the stone, was used to conceive the symbolic references. This work embodies the rubs between words and images, as well as the creation and destruction of knowledge.
2013 PhD, Queensland College of Art, Griffith University
2001 Bachelor of Secondary Education, Griffith University
1999 Bachelor of Visual Arts with First Class Honours in Fine Art, Queensland College of Art, Griffith University
2013 – Present Lecturer in Painting (convener), Faculty of Law, Humanities and the Arts, University of Wollongong.
2004 – 2012 Part time lecturer, Painting Department, Queensland College of Art, Griffith University.
2002 – 2004 Art teacher, Bracken Ridge State High School, QLD.
2000 – 2001 Tutor for ATAS (Aboriginal and Torres Strait Islander Tutorial Assistance Scheme), Griffith University.
Awards, prizes and grants:
2016 UOW-ANSTO Joint seed funding scheme, ‘Characterising, Analysing and Understanding Artists’ Materials Using Terahertz-Frequency Photons’ ($21 000) Roger Lewis, Madeleine Kelly (Chief Investigators)
2015 Australia Council Development Grant for Leipzig International Art Programme Residency, Germany (February – June 2016) ($20 000)
2014 Global Challenges Seed Funding Grant Paint Analysis Using Terahertz Spectroscopy (PAUTS) Roger Lewis (Chief Investigator), Madeleine Kelly, Stephen van Duin, Adam Trevitt ($14 398)
2011 Australia Council New Work Established Grant ($20 000)
2009 Australian Postgraduate Award Scholarship
2007 Artist in residence, Gadens Lawyers, Brisbane ($9000)
2007 Arts Queensland Project Grant ($3500)
2006 Metro Arts Artist in Residence (March – October 2006)
2004 Australia Council Arts and Crafts Paris Studio Residency Grant ($10 000)
2004 Winner, Churchie Exhibition of Emerging Art ($5000) Judge: Dr Rex Butler
2003 Arts Queensland Project Grant ($5000)
2001 Arts Queensland Project Grant ($2700)
1998 Melville Haysom Memorial Art Scholarship, Queensland Art Gallery (Studio Residency from 20 August – 20 December 1999)
2017 Diversity and Demise: Encounters with pelagic birds and sub-linguistic form, Wollongong City Gallery (11 February – 14 May), Wollongong NSW.
2016 Cooking Culture, Leipzig International Art Program, Leipzig, Germany.
2013 The Surface of Language, Griffith University Webb Gallery, Brisbane, QLD.
Picturing Archaeologies, Griffith University White Box Gallery, Brisbane, QLD.
2011 Hollow Mark, Griffith University Art Gallery, Brisbane, QLD, curated by Simon Wright, essay by Abigail Fitzgibbons.
2010 The Crevice, Milani Gallery, Brisbane, QLD, Australia
2008 Heavy Heavenly Bodies, Milani Gallery, Brisbane, QLD, Australia
2007 Dreams of Utopia, Gadens Lawyers, Brisbane, QLD, Australia
2006 The Elephants’ Shelter, May, Bellas Milani Gallery, Brisbane, QLD, Australia
2005 Between expansion and collapse, April, Bellas Milani Gallery, Brisbane, QLD, Australia
2003 Pursuit of the Prizefighter, September, Soapbox Gallery, QLD, Australia.
Grounds for Entropy, August, Redlands Art Gallery, Redland Shire, QLD.
Fossilphilia, March, Metro Arts, Brisbane, QLD, Australia
2002 Mnemonics, Queensland Performing Arts Complex, QLD, Australia
2001 Anatomy of a Metaphor, Modus Studios, Fortitude Valley, QLD, Australia.
1999 Eclipse, Development Space, Metro Arts, QLD, Australia
Paradigma Blickwechsel (Paradigm Exchanging Glances) Tapetenwerk 13 October – 3 November Leipzig, Germany, curated by Anna-Louise Roland;
Sea of Waste, Shoalhaven Regional Gallery, Nowra (15 July – 2 September), curated by Fiona McFadyen;
Scenes of our City, Museum of Brisbane, Brisbane (3 March – 16 July);
Contemporary Still Life, Casula Powerhouse (28 April – 2 July), curated by Toni Bailey and An Le;
Hazelhurst Art on Paper Award 2017 (20 May- 16 July);
Works from the Collection, Ipswich Gallery, (17 July – 24 September).
Fisher’s Ghost Art Award Campbelltown Arts Centre, Campbelltown NSW (4th November – 15 December);
The Waiting Room, Artbank, Sydney, NSW, Australia curated by Daniel Muddie Cunningham.
Lady Cilento Children’s Hospital commission Barren Grounds 2016 (permanent display).
Patterns Beyond the Obvious, LIA Gallery, Leipzig, Germany, curated by Laura Bierau (March).
64th Blake Prize Exhibition, Casula Powerhouse, Casula, Sydney, NSW, (13 February to 21 April).
Barren Grounds, new work Commissioned by the Lady Cilento Children’s Hospital, Brisbane, QLD (permanent display).
GOMA Q: Contemporary Queensland Art, Queensland Art Gallery/Gallery of Modern Art, Brisbane, QLD, curated by Peter McKay (11 July – 11 October).
Contemporary works from the Collection, Ipswich Art Gallery, Ipswich, QLD, curated by Michael Beckmann (29 May to 27 November).
Gold Coast City Art Prize, Gold Coast City Gallery, QLD, selected by Nick Mitzevich (5 December – 31 January).
Conquest of Space, UNSW Galleries, COFA, Sydney, NSW, curated by Andrew Frost;
Processing, Alaska Projects, curated by Teo Treloar;
Fractured Beauty, Wollongong City Gallery, Wollongong, NSW, curated by Louise Brand;
15 Artists, Redcliffe City Art Gallery, Redcliffe, QLD, judged by Timothy Morrell;
Tools of the Trade, Juggler’s Artspace, Brisbane , QLD, curated by Justin Jade Morgan and The Wandering Room;
63rd Blake Prize Exhibition, UNSW Galleries, COFA, Sydney, NSW, judged by Director of Artspace, Alexie Glass-Kantor, noted artist, Anne Ferran, and University of Sydney theologian, Dr Alex Norman.
Ten Years of Contemporary Art: The James C Sourris Collection, Queensland Art Gallery/Gallery of Modern Art, Brisbane, QLD, curatorial manager Julie Ewington.
New Psychedelia, University of Queensland Art Museum, Brisbane, QLD, curated by Sebastian Moody.
Australia Felix, Crane Arts Philadelphia, Philadelphia, USA, curated by Ross Woodrow.
The Ipswich House: Heritage house portraits by contemporary Queensland Artists, Ipswich Art Gallery, Ipswich, QLD, curated by Michael Beckmann;
Tiny Little Wonderful Worlds, Southbank Parklands, Brisbane, QLD, curated by Pat Hoffie;
BABELProjekt, Woodford Folk Festival, Woodford, QLD,curated by Pat Hoffie.
Other Misconceptions, Level Artspace, Brisbane, QLD, curated by Jo Di Ball; To Freeze, To Prick, To Cook, the Wandering Room at Melbourne Street, Brisbane, QLD, curated by the Wandering Room.
Temperature 2, Museum of Brisbane, curated by Frank Mc Bride, Brisbane, QLD.
The Brisbane Line, The Narrows, Melbourne, VIC, curated by Ross Woodrow.
Carnivale Illuminata, Woodford Folk Festival, Woodford, QLD, curated by Pat Hoffie.
Stan and Maureen Duke Art Prize, Gold Coast City Art Gallery, Gold Coast Arts Centre, QLD.
Twenty Twenty, Museum of Brisbane, Brisbane, QLD, curated by Frank Mc Bride;
Voiceless: I feel therefore I am, Sherman Galleries, Sydney, NSW, curated by Charles Green.
ABN Amro Emerging Art Award, Finalists Exhibition, Sydney NSW.
Colonial to Contemporary: Queensland College of Art 125 Years. A Contemporary Overview, Dell Gallery, Queensland College of Art, Griffith University, Brisbane, QLD, curated by Timothy Morrell.
Primavera, Muswellbrook Regional Arts Centre, Muswellbrook, NSW, curated by Felicity Fenner.
Animals and Allegory, QUT Art Museum, Brisbane, QLD, curated by Simone Jones.
Primavera 2005: Exhibition by Young Australian Artists, Museum of Contemporary Art, Sydney, NSW, curated by Felicity Fenner.
2016 Kelly, Madeleine, Mimicry and Mimesis: Matrix Insect, Animal Studies Journal, 5(1), 2016, 48-64.
2015 Kelly, M. T. “Creation and preservation: teaching colour theory.” ACUADS Conference 2015: Art and Design Education in the global 24/7. Australia: Australian Council of University Art & Design Schools, 2015. 1-13.
‘Creation and preservation: Teaching colour in the transforming visual arts world’, conference presentation, The Australian College of University Art and Design Schools, University of South Australia, School of Art, Architecture and Design, Adelaide, delivered 24 September.
Artist Talk, ‘In-conversation with Peter McKay’ for GOMA Q: Contemporary Queensland Art, QAGOMA, delivered Saturday 11th July.
Artist Talk, ‘Future Collective Artist In-conversation with Peter McKay’ for GOMA Q: Contemporary Queensland Art, QAGOMA, delivered Wednesday 15th July.
Commission to produce another series of birds, Barren Grounds 2015, for Lady Cilento Children’s Hospital, Brisbane, QLD.
‘Splitting Primordial Identity and Dissembling Images’, conference presentation, Conquest of Space Symposium, UNSW Galleries, COFA, Sydney NSW, delivered 14 June.
Artist talk, UNSW Galleries, COFA, Sydney NSW, delivered 4 June.
Panelist for ‘Documenta 13 – a critical panel discussion’, The Glasshouse, Creative Industries Prescient, Queensland University of Technology, delivered
Artist talk, Gallery of Modern Art, South Brisbane, QLD, delivered 4 December.
‘Early Years and primary: Imagination and Pretend worlds’, lecture, Cinema B Gallery of Modern Art, South Brisbane, QLD, delivered 30 July.
Artist in resident, Brisbane State High School.
Artist talk Brisbane Boy’s Grammar school.
Assistant Program Officer, Education & Curriculum Program coordinator for ‘Art for our school’ program coinciding with ‘Surrealism: The Poetry of Dreams’, workshop component Beenleigh State School;
Judge, Bellas Bursary, Brisbane State High School;
Judge, Creativo Arts Gala Martin Galleries
Visiting Artist for The Mekong River Project Children’s Workshop, Kids APT Festival Queensland Art Gallery.
Selection committee for finalists for the Churchie Exhibition of Emerging Art;
Judge, junior category, Queensland Youth Art Awards, Brisbane Boy’s Grammar School.
Artist in resident, Brisbane State High School.
Artist talk, ‘I Love Art History’ Lecture series, Gallery of Modern Art, South Brisbane, QLD, delivered 4 December.
Steering Committee and Panel Member, Metro Arts, Brisbane, QLD,
Creative Short Watercolour Course, Aug-Nov, Queensland College of Art, Griffith University; Curator: Undercurrent, QCA, GU open day exhibition.
Artist talk, lecture series, Queensland University of Technology Art Museum and Queensland College of Art, Dell Gallery
Workshop Artist, Box City Installation, Queensland Art Gallery.
Artist talk, Brisbane Boys Grammar School.
Artist talk, ‘Coolbytes Lecture Series’, Queensland College of Art, Southbank and Gold Coast City Art Gallery.
Event Coordinator for ‘The Minister’s Awards For Excellence in Art’ for Education Queensland.
Smith, J Diversity and Demise: Encounters with pelagic birds and sub-linguistic form, exhibition catalogue, Wollongong City Gallery (11 February – 14 May), Wollongong NSW.
Treatment for Hysteria II 2008 Cover image, Letter to Pessoa 2016, Michelle Cahill, Giramondo.
Gathering as Usual 2010 Cover image, Mascara Literary Journal Issue 17 April 2015
Martin-Chew, L 2015, ‘Preview GOMA Q’, in Art Guide Australia‘.
Failey, G 2015, ‘GOMA Q: Contemporary Queensland Art’.
Hassall C 2015, ‘Contemporary Queensland’, in West End Magazine, Spring, pp78 – 81.
Brand, L 2014, Fractured Beauty, exhibition catalogue, 13 September – 26 October, Wollongong City Gallery, Wollongong, NSW.
Frost, A 2014, ‘The Engine of Experience: Contemporary Art and SF’, in Conquest of Space, exhibition catalogue, 22 May – 5 July, UNSW Galleries, COFA, Sydney, NSW, pp.5-7.
MacLeod, B 2013, ‘Profile: Madeleine Kelly’, in Artist Profile, no.25, pp.52-55.
McFarlane, H 2013, ‘Brisbane Gallery Hop’, Artlink, vol.33, no.4, p.95.
Butler, R 2013, ‘The QCA School’, Art Monthly Australia, no.257, pp.40-43.
Morrell, T 2012, ‘The James C. Sourris A.M. collection’, in Artlink, vol.32, no.1, p.95.
Kirker, A 2012, ‘The Woman Question, Surrealism: The Poetry of Dreams, Gallery of Modern Art, Brisbane, 11 June – 2 October 2011’, in Eyeline, no.76, online review.
Richards, B 2011, ‘Emerging artists the Current Crop’, in Ewington, J. & Queensland Art Gallery 2011, Ten years of contemporary art: the James C Sourris AM collection, Queensland Art Gallery, 12 November – 19 February, South Brisbane, QLD, pp.97-117.
Fitzgibbons, A 2011, ‘An Alchemy of Reflection’, in Hollow Mark, exhibition catalogue, 7 October – 13 November, pp.4-7.
Kelly, M 2011, ‘Dream Weapon’, reproduction of painting, Oculus: Postgraduate Journal for Visual Arts Research, no.3, pp.52–3.
Fitzgibbons, A 2010, ‘Madeleine Kelly, The Crevice’, Artlink, vol.30, no.4, p.85.
Stewart, K 2010, ‘Fairy Knoll: Madeleine Kelly’, in The Ipswich House: Heritage house portraits by contemporary Queensland artists, exhibition catalogue, 11 September – 14 November, Ipswich Art Gallery, QLD, pp.26-30.
Kelly, M 2010, ‘Gathering as Usual’, reproduction back cover image, RED Magazine, Griffith University, Brisbane, QLD, no.5.
Morrell, T 2009, ‘Queensland: The Unreal Australia’, Exhibition catalogue Temperature Two, p.15.
Morrell, T 2008, ‘The error of our ways: Madeleine Kelly’, Artlink, vol. 28 no. 1 March 2008, pp.60-65.
Fenner, F 2007, ‘The Nature of Art’, Art and Australia, Vol 44, No.3, Autumn.
Flynn, B 2007, ‘Madeleine Kelly, Emerge and Review: A Look into the UBS Australian Art Collection’, pp.54-55.
Morrell, T. & Cooke, G. 2006, Colonial to Contemporary: Queensland College of Art 125 Years, p.26.
Frost, A 2006, ‘Madeleine Kelly, 50 of Australia’s most collectable artists’, Australian Art Collector, Issue 35, January-March p.105
Butler, R 2005, Art in Australia, Art Review, vol.43, no.2, Summer, p.277.
Smee, S 2005, ‘Spring Loaded’, The Weekend Australia, pp.17-18 September.
Clement, T 2005, ‘Cleanse the Palette’, The Sydney Morning Herald Metro: Exhibitions, p.26.
McDonald, J 2005, ‘Isn’t it Ironic?’ The Sydney Morning Herald – Spectrum, Visual Art, 15-16 October pp.28 – 29.
Art Matters (MCA’s Members’ Newsletter), Cover Image, Spring.
Fenner, F 2005, Primavera: Exhibition by Young Australian Artists, exhibition catalogue.
Brand, S 2004, ‘Painting Modern Life’, exhibition catalogue, Blur, December, pp.6-16.
Sorensen, R 2004, ‘Top painting a confronting image of Iraq’, The Courier Mail, Saturday May 15, p.3.
McLean, S 2003, ‘Art from the Ashes’, The Courier Mail, Saturday September 6, BAM p.4.
Butler, R 2003, ‘Spooky work by fresh new talent’, The Courier Mail, Saturday August 23, BAM p.4.
Machan, K 2003, Art Monthly Australia, Artnotes QLD, March no 157 p. 157.
Milani, J 2003, ‘On the transformation of oil’ in Fossilphilia, exhibition catalogue.
Brooks, H 2003, ‘Oil Painting’, The Courier Mail, March 11 2003, p.17.
Hoffie, P 2001, ‘Review: Anatomy of a Metaphor’, in Artlink, vol.21, no.2, pp.86-87.
Queensland Art Gallery I Gallery of Modern Art
Ipswich Regional Gallery, QLD
Wollongong City Gallery
University of Queensland Art Museum
Griffith University Art Collection, Brisbane
Gadens Lawyers, Brisbane
UBS Art Collection, Sydney
KPMG Corporate Collection Sydney
Private collections in Australia:
The Paul Eliadis Collection of Contemporary Art
TEWRR Collection, Brisbane/UK