Through painting and drawing I fold and unfold the myths that surround us like a cosmic origami. 

Capturing the frenetic nature of the ether through lines and colours borrowed and blended from a hybrid of cultures. 

Our commonality as humans is essential in my dialogue, as I push through aesthetic norms of acceptability and taste. Memories, myths and shared emotions weave through my paintings, abstracted and reshaped again and again until we come to see that our humanity is what humbles us and sustains us. Capturing the constant oceanic movement of what it means to move through a life. To capture the ineffable in paint and graphite. To resonate with a truth that lies beneath all our embellishments. My work is more than a representation of a thing, it is the thing. And it continues to evolve long after I am finished with it, because the viewer then takes it to their own place of understanding and experience. For it is then that the painting becomes the relationship and the journey.

Kaye Freeman

10.jpg

                         

 

CV

Now

Solo

Museum of Arts and Sciences, Macon GA USA

Group

Multifaceted at Tufenkian Fine Arts 

 

Past Exhibitions

Solo

2021 Hardin Center for Cultural Arts, Gadsen AL USA

2020 Digital Exhibition (due to the pandemic): 

Further from Heaven Band of Vices, LA 

2019 Anatomy of a Painting, curated by Amy Kaps for MOAH Lancaster East Gallery

2012 Floating Worlds, Wangaratta Gallery, AUS 

Fluids, Gasworks, Melbourne, AUS 

2011 Kingdom, Gallery 775, AUS 

Floating Worlds, Frankston Arts Centre, AUS 

2009 Falling Sky, Walker St. Gallery, Melbourne, AUS 

Falling Sky, Wodonga Art Space, AUS 

Art At Work, Wodonga Council Chambers, AUS 

2002 Tokyo Disney Death Mask, TAP Gallery, Sydney, AUS 

2001 Kaye Freeman, TAP Gallery, Sydney, AUS 

1996 The Tribe, ARDT Gallery Sydney, AUS 

Group

2021 C11H17NO3 at Band of Vices

          NOMAD Torrance Art Museum

          Two artist show: In the Midsts of All That Is, Band of Vices, LA USA

2020 Museum Program Exhibition Curated by Cross Contemporary Partners

Maiden LA Open Studio

That Layered Look, Tufenkian Fine Arts LA curated by Peter Frank

2019 EYE to EYE, Band of Vices, LA

2018 Clay Contemporary, Norfolk, UK 

16 Contemporary Artists, Fabrik & Enter Art Foundation, Bonn, DE 

2017 Two Artist Show: New Anatomy, curated by House of Wren at Castelli Art Space LA

2016 Rogue, House of Wren, Los Angeles, USA 

BG Gallery, Santa Monica, USA 

2015 At_Salon2, Anita Traverso Gallery, Melbourne, AUS 

Words that Matter, Wangaratta Regional Art Gallery, AUS 

2014 Venice Art Walk, Los Angeles, USA 

2013 “the rest is silence,” Death Be Kind, Melbourne, AUS 

2011 Gallery 775, AUS 

9x5 Show, Walker St. Gallery, Melbourne, AUS 

2010 Gallery 775, AUS 

9x5 Show, Walker St. Gallery, Melbourne, AUS 

2009 Small Works, Brunswick St. Gallery, Melbourne, AUS 

9x5 Show, Walker St. Gallery, Melbourne, AUS 

2007 9x5 Show, Walker St. Gallery, Melbourne, AUS 

2006 Albury Regional Art Gallery, AUS 

9x5 Show, Walker St. Gallery, Melbourne, AUS 

Fresh & Unframed, Yackandandah Gallery, Victoria, AUS 

2002 Two Artist Show: TAP Gallery, Sydney, AUS 

Fluro Show, TAP Gallery, Sydney, AUS 

2001 Buiten, Chiba Municipal Gallery, Japan 

1997 Manly Art Gallery, Sydney, AUS 

1996 Leichardt Gallery, Sydney, AUS 

Tamworth Art Gallery, AUS 

1995 Four Women, ARDT Gallery, Sydney, AUS 

Temple of The Third Millennium, Urban Gallery, Sydney, AUS 

Christmas Show, ARDT Sydney AUS

Art Fairs

2018 Beverly Hills Art Fair 

Palm Springs Art Fair wirh Cassera Art Premiers

2017 LA Art Fair with BG Gallery LA

Palm Springs Art Fair wirh Cassera Art Premiers

Publication/Press

2020 Artillery Magazine

Featured as Artist of the Week at Tufenkian Fine Arts: Instagram interview.

2019 Turn and Face the Strange: Collaboration with Poet Natasha Dennerstein 

Published by Norfolkpress 

Full Blede: The Undertaking

Full Blede: The Interpenetrate

Full Blede : The Continuant

2018 Voyage LA Magazine 

North American Review 

Full Blede: The Parapraxis

2017 “About A Girl” By Natasha Dennerstein (Book Cover Art) 

Creative Boom Magazine 

Whitehot Magazine of Contemporary Art 

Harper’s Bazaar Vietnam 

2015 Australian Ceramics Magazine 

ABC Radio Interview Words That Matter 

2014 Fourteen Hills SF University Press http://14hills.net/content/volume-211-2015 

Critical Essays regarding works from the Collaboration with Natasha Dennerstein 

by Chelsea Maradiega, Natasha Tansey, Jan-Henry Gray and Ryan Nash 

2012 Wangaratta Chronicle “Artistic Journey Through Dementia” 2011 

Adelaide Perry Catalogue & Website 

Frankston Art Centre Catalogue 

2010 Art Almanac Australia

2007 Substation Contemporary Art Prize Catalogue 

2000 Ohara Art Buiten Catalogue Japan 

Auctions

2020 CAMP UBUNTU LA USA

Bid 4 Biden LA USA

2018 CASA LA Charity auction LA USA

2010 Red Box Charity Auction for refugees , Melbourne, AUS 

2008 Charity Auction for Refugees, Beechworth, Victoria, AUS 

Collaboration/ Short Films

2021 Shiosai Short Film shown at Comeback Festival Art Share LA

HibiscusTV: with Amy Kaps 

WOOD a short film shown at Comeback Festival Art Share LA

2019 Turn and Face the Strange: with Natasha Dennersteing. Published by Norfolk Press 

Juried Exhibitions

2018 Winner, Painting, Beverly Hills Art Fair USA

Second Place, 21st Century Open,Woman Made Gallery Chicago USA

2017 PAPER perVIEW, Brand Library & Art Center, Glendale, USA 

2012 Mount Eyer Art Prize, David Rex Livingston Gallery, Sydney, AUS 

Adelaide Perry Drawing Prize, Sydney, AUS 

2011 She Prize, Walker Street Gallery, Melbourne, AUS 

Mount Eyer Art Prize, David Rex Livingston Gallery, Sydney, AUS 

2010 Winner, She Prize, Walker Street Gallery, Melbourne, AUS 

Rick Amor Drawing Prize, Ballarat Art Gallery, AUS 

Mount Eyer Art Prize, David Rex Livingston Gallery, Sydney, AUS 

Williamstown Contemporary Art Prize, Melbourne, AUS 

St. Michael’s Archangel Prize, Melbourne, AUS 

Works On Paper, Brunswick St. Gallery, Melbourne, AUS 

2007 She Prize, Walker Street Gallery, Melbourne, AUS 

2006 She Prize, Walker Street Gallery, Melbourne, AUS 

1996 Winner, Chroma Art Award For Outstanding Student Work, NSW, AUS 

1991 Winner, John Olsen Scholarship, Julian Ashton, Sydney, AUS 

1988 Winner, Best Female Performer, Festival of New Australian Theatre, Sydney, 

Teaching and Artist Talk

2020 Band of Vices

Tufenkian Fine Arts

2015 Guest Lecturer, Saddleback College, CA, USA 

Guest Lecturer, National Arts School, Sydney, 

2014 Guest Lecturer, Saddleback College, CA, USA 

Opening Speech and Guest Adjudicator, Wangaratta Jazz Festival Art Competition

2013 Opening Speech, Wangaratta TAFE Exhibition at Wangaratta Art Gallery, AUS 

2012 Artist in Residence Talk, Wangaratta Art Gallery, AUS 2011 

Artist in Residence Talk, Wodonga Art Gallery, AUS 

2007-13 Art and Japanese Teacher, Wangaratta High School Victoria Education, AUS

1994-96 Japanese Instructor at Tamworth TAFE AUS 

1983-89 Contemporary & Classical Dance Instructor, Aboriginal Dance Theatre Redfern AUS 

Education

2008 Bachelor and Diploma of Education, Victoria University, Fine Art and Japanese, AUS 

2006 Monash University, Japanese Linguistic Equivalency Examination, High Distinction, AUS 

1993-96 Tamworth TAFE: Diploma, Painting & Printmaking, AUS 

1990-92 Julian Ashton Art School, Sydney, AUS 

Freeman_Kaye_Vernon_Oil paint on canvas_42 x 47 inches_2019.jpg

                               Vernon, Oil paint on canvas, 42 x 47 inches, 2019.

 

Kaye Freeman's L.A. Ecosystems

By Annabel Osberg

 

    Kaye Freeman's "City Scapes" express Los Angeles as a peculiar ecosystem where beauty and harshness are inextricably intermeshed.  Ranging from monumental paintings to diminutive drawings, her urban landscapes appear as febrile daydreams of vibrant color, topsy-turvy movement, and frenetic energy. Architectural edges tilt, cables wobble, and streets dissolve in free-flowing compositions where fanciful vignettes melt into one another as hallucinatory mirages. Softening urban infrastructure's linear geometry, Freeman presents the city as a sprawling indefinite organism whose lifeblood is a squiggled network of freeways, power lines, and telecommunication wires. 

    Just as Los Angeles' glamorous skyline ensconces dismal poverty, Freeman's whimsical style and dazzling palette of fluorescents and pastels belie darker significance. 

    This is especially apparent in her largest cityscape, DTLA as the Garden of Earthly Delights (2017). Titled after Hieronymus Bosch's apocalyptic magnum opus, this 30-foot triptych represents the city's perpetual birth, life, and death. Disintegration and construction progress sequentially from left to right through the triptych, while also occurring simultaneously from top to bottom in each painting; the fluctuant city is constantly regenerating. In the leftmost canvas, Santee Alley, tenuous cranes precariously dangle a tottering block of buildings high above upside-down trousers evoking corpses. Nearby, faces, inspired by masks of peoples indigenous to various world regions, represent the city's buried cultural foundation. In the central canvas, mountains of skyscrapers appear relatively halcyon; but in the final painting, Skid Row Diamond Dogs, dwindling skylines are encircled by ramshackle tents and preponderant vagrants painted in shadowy deep violets that jar the rest of the triptych's high-keyed hues.

    Freeman's easel-sized streetscapes more compendiously crystallize her impressions of frantic urban uncanniness. Writhing overpasses erratically peak and dip like nightmarish roller coasters. Grimy gray graphite lines intersect blotchy celestial color fields of intermittently scabrous surfaces. Reeling high-rises perilously whirl under hot pink suns evoking bullet holes agape in golden skies. Expressionistic crimson brushstrokes evoke a bloody mess in Red 405 (2018), where a fetally hunched homeless figure doggedly wheels through the fuscous margins of a sanguine freeway river.

    Hints of religious iconography insinuate ruin and redemption. Betokening mastery, telephone and power poles appear as crosses while also recalling slack-stringed marionette controllers. City of Angels (2018) portrays a scrawled white mystical form hovering above skeletal transients huddled in the umbra of glowing skyscrapers. 

    As a recent immigrant, Freeman asserts her own cosmopolitan background in allusions to Los Angeles' multiculturalism. She signs her drawings with her kanji seal and incorporates a recurring character inspired by the notorious Australian bushranger Ned Kelly. 

    Despite her cynicism, Freeman's ambition to portray Los Angeles through her copious collection of colorful cityscapes seems celebratory at heart. This exuberant painting series leaves little doubt that for the artist, living in LA is a dream come true.