Brendan Kelly Born Ryde, Sydney. Lives and works Mullumbimby NSW Australia, b. 1970
Brendan Kelly
Born 1970- Born Ryde. Now lives and works in Mullumbimby, NSW Australia
Through my art, I aim to create a unique and exciting experience that evokes contemplation of life, whilst sharing my own experiences and eccentricities as an Australian.
Utter Bedlam (2023) is Brendan Kelly’s latest solo exhibition of mixed media paintings, which focuses on Australia’s first purpose-built psychiatric hospital, the Tarban Creek Lunatic Asylum (later Gladesville Hospital), which opened in 1838 in the Sydney suburb of Gladesville.
Using the Gladesville Hospital as a microcosm for the broader examination of mental health care, the artist attempts to better understand historical and contemporary practices and attitudes, how they were formed, how they have changed, and what may lie ahead.
The works in the exhibition explore the theme using raw, direct, gestural marks alongside fractured, figurative, cartoon-like passages with a mixture of mediums including acrylics, graphite, charcoal and photo collage. The artist uses bright and bold colour to effectively address the light and dark shades of sensitive subject matter with intelligence, empathy, irony and compassion.
Through the exhibition, the artist hopes to increase awareness, acceptance and understanding of mental health issues, and to open new dialogues relevant to the past, present and future of mental health and wellbeing in all forms everywhere.
Language Warning: Some words and terminology used in the Utter Bedlam exhibition such as asylum, lunatic, mental hospital, and hysteria are now considered out of date or inappropriate. They have been used to express and address historical content relating to contemporary mental health care. No offence is intended..
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Gently Boys... Gently, 2023
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Hannah's Procedure, 2023
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Ionic Hysteria, 2023
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Justine's Imaginary Wedding, 2023
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Maternal Abyss Variation, 2023
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Old Ian's Boots, 2023
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St Mary of Bedlam, 2023
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The Maternal Abyss, 2023
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Balls Head Bay in the Key of Wakelin, 2022
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Currency Lad 1 (study), 2022 Sold
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Death Masks and Ettie Hart, (study), 2022 Sold
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Down the Hills to Berrys Bay But in a Different Way, 2022
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Ferry at Tennyson Wharf, 2022
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Fig Tree Bridge , 2022
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Kelly in the Dreaming, 2022
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Lane Cove River Vistas, 2022
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Lloyd Rees Assessment, 2022
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Lloyd Rees Dialogue, 2022
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Lloyd Rees-Dare I?, 2022
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Marie Santry- The Spark and Fire, 2022
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Riverview 2, 2022
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Riverview 4, 2022
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Riverview Vistas, 2022
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Searching for Salvation at the Northwood Markets, 2022
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Storm over Balls Head, 2022
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The Malting Shovel, 2022
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There were Camels in Northwood, 2022
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Winx - Horse Variation series, 2022
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Winx II Horse variation series, 2022 Sold
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A Currency Lad 1, 2021 Sold
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A Currency Lad 2, 2021
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A Currency Lad 3, 2021
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All in the Armour, 2021 Sold
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Bennelong - Coat of Contention, 2021 Sold
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Bennelong - Under Squires Orchard, 2021
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Bennelong - Under Squires Orchard II, 2021
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Bennelong under Squires Orchard, 2021 Sold
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Canned Kelly, 2021 Sold
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Death Masks & Ettie Hart, 2021
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Ellen Kelly - Ned's Mum, 2021 Sold
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Honeymoons & Music, 2021 Sold
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Horse Frequencies Variation , 2021 Sold
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I Shot Him, 2021 Sold
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I Was A Crow, 2021
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Julian Ashton's Removal, 2021 Sold
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Kelly at a Distance, 2021
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Kelly in the Abstract, 2021 Sold
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Kelly Through a Stained Glass Window, 2021
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Mourning the Icon, 2021
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Movement at the Midden, 2021
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Once Upon a Midden, 2021
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Portrait Of A Snapper Person, 2021 Sold
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Saint Ned, 2021
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Scribbly Gum Snapper People, 2021 Sold
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Spirit of the Light Horse, 2021
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Suburban Snapper People!, 2021 Sold
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Super Ned, 2021 Sold
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Terror at the Window, 2021 Sold
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The Malting Shovel Drinking the Farm, 2021 Sold
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The Reverend Kelly, 2021
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View on Promo.comBrendan Kelly
Born 1970- Born Ryde. Now lives and works in Mullumbimby, NSW Australia
Through my art, I aim to create a unique and exciting experience that evokes contemplation of life, whilst sharing my own experiences and eccentricities as an Australian.
Growing up in a typical suburban Australian home in the 1970’s, Brendan Kelly's first experience with paint was working with his father on the house. He recalls his dad painting a green figure on the side of a box with paint oozing onto the ground. This moment would stay in the artist's mind for years and after some experimenting as a teenager, Kelly's creativity manifest through a variety of artistic pursuits. Training as a Graphic Reproducer with a large printing company inspired initial cartoon drawing and poster art and after relocating to Mullumbimby in the 1990’s with partner, artist Claire Yerbury, the peace and isolation of living in the raw native bush created a sense of nostalgia and a yearning for more.
After attending drawing classes in Northern NSW Kelly's mind opened to a heightened sense of awareness and led to an exclusive concentration on his art practice. With designs and cartooning published in various Australian magazines and newspapers, the subsequent development of Kelly's distinctive painting style reflects both his character and life experience. The artist images local subject including the vast parcel of land in Northern NSW on which he lives. And, through contemplation of life, his oeuvre includes reflection on Australian history, colonialism, Aboriginality from a white perspective, and iconic heroes and eccentricities as an Australian.
The 2021 ground-breaking series, Wallumatta White Kid, was rich in narrative and reflected Kelly's deep connection with Sydney's Wallumatta/Ryde area where he grew up. Imaging the birth and final resting place of Bennelong, Kelly included portrayals of his lands, the convict worked orchards of the James Squire Brewery, (Sydney's first), which lay on the banks of the Parramatta River now in Sydney's Northern Suburb of Putney. Commenting on the treatment of First Nations Australians and Colonial attitudes, he also nods to Bennelong as an 18th Century curiosity.
Kelly’s long anticipated 2022 body of work, Saint Ned, includes mixed media paintings focusing on the infamous Australian bushranger Ned Kelly and his place within contemporary Australian society. The artist seeks to analyze Ned Kelly through a broad lens, encompassing a wide range of elements, which have added to the Ned Kelly story, in order to comprehend the modern view of a man who, once thought a common criminal, hunted by police and executed in 1880, became Australia’s most well-known 19th century individual, an Australian hero and icon. The breadth of work in the exhibition reflects Ned Kelly in the contemporary sense. Raw, bold, and direct gestural abstract-marks share the picture plane with fractured, figurative, almost cartoon-like passages that contain a wide mixture of mediums including acrylics, graphite, oil stick, aerosol spray, sheet metal and photo collage. Using an Australian colour palette the artist effectively showcases Ned’s light and dark shades with intelligence, empathy, humour, irony, parody and pride. Using Ned Kelly as a mirror, the exhibition asks us to look at our national identity through our radically changing perceptions of a 19th century bushranger. How and why has our view of Ned Kelly and ourselves altered? What are our current values and perceptions as a nation, and what were they in the past?
Included within the Macquarie University Art Gallery Collection, Kelly has been invited to respond as a contemporary painter from the Ryde area, to the forthcoming 2022 Macquarie University survey exhibition of the Northwood Group of artists, including Lloyd Rees, Roland Wakelin, George Feather Lawrence, John Santry, Douglas Dundas, Wilmotte Williams and Marie Santry.
Solo Exhibitions:
2022 Saint Ned Brenda Colahan Fine Art, Sydney
2021 Wallumatta White Kid, The Wellington Gallery Sydney NSW
2021 Breastfed Orphans, Traffic Jam Galleries, Sydney NSW
2020 Trouble in The Order, The Wellington Gallery Sydney NSW
2020 Flight to Light, The Wellington Gallery Sydney NSW
Group Exhibitions:
2022 Affordable Art Fair Sydney, Brenda Colahan Fine Art
2021 Spring Exhibition Brenda Colahan Fine Art
2021 Sydney Road Gallery Birthday Show
2021 ‘Birds’ Group Exhibition, Traffic Jam Galleries, Sydney
2019 Forest Art Flesh and Bone Experiment, Mullumbimby, NSW
2019 Forest Art Enter The Bower, Mullumbimby, NSW
2018 Forest Art Forest Comes Alive, Mullumbimby, NSW
2018 Forest Art Mullumbimby, NSW
Represented by:
Brenda Colahan Fine Art, Sydney
The Wellington Gallery, Sydney
The Thom Gallery Byron Bay, NSW
19Karen Galley, QLD
Education and Training:
Graphic Reproduction Apprentice
Nationally published cartoonist The Big Issue
Ron Curran Dynamic Drawing
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Utter Bedlam
Brendan Kelly 23 Mar - 6 Apr 2023Utter Bedlam (2023) is Brendan Kelly’s latest solo exhibition of mixed media paintings, which focuses on Australia’s first purpose-built psychiatric hospital, the Tarban Creek Lunatic Asylum (later Gladesville Hospital), which...Read more -
Uncovered: Northwood, Lloyd Rees and Beyond
A Contemporary Response by Brendan Kelly 21 Sep - 6 Oct 2022Born in 1970, Australian contemporary artist Brendan Kelly was raised in Ryde during the 1970s and 1980s. He recalls a lively, carefree childhood along the banks of the Lane Cove...Read more -
BCFA @ Affordable Art Fair
Stand C06 2 - 5 Jun 2022We are delighted to announce that Brenda Colahan Fine Art will be exhibiting a very select group of artworks at the inaugural Affordable Art Fair, Sydney, from 2nd -5th June...Read more -
Saint Ned
Brendan Kelly 10 - 24 Mar 2022Saint Ned (2022) is Brendan Kelly’s latest solo exhibition of mixed media paintings focusing on the infamous Australian bushranger Ned Kelly and his place within contemporary Australian society.Read more
The artist seeks to analyse Ned Kelly through a broad lens, encompassing a wide range of elements, which have added to the Ned Kelly story, in order to comprehend the modern view of a man who, once thought a common criminal, hunted by police and executed in 1880, became Australia’s most well-known 19th century individual, an Australian hero and icon.
The Kelly Spirit- Onpeople and place in the Australia Imaginary Burton, Jane . Byron Arts Magazine (BAM) Issue twenty-One 2022 pp 76-80
Artist Spotlight- Interview with Brendan Kelly. The Village Observer Issue 311 March 2022 p35