View To Scale
View In Room
View To Scale
View In Room
Oil on linen
Dimensions: 180cm (H) x 180cm (W) x 5cm (D) / 70.9" (H) x 70.9" (W) x 2" (D)
Note: Actual colours may vary due to photography & computer settings.
For years my work has been centred around themes of female empowerment, the women’s movement and finding a voice for women’s stories. My new body of work “Standing Strong” moves slightly away from the imagery of dominant, confident, powerful women. Although the women in this series are still adorned by symbols of a male hero culture, such as military jackets, pilot outfits, helmets and goggles, their poses and gestures are lacking the aggression and hostility of previous works. Instead heroines are reserved, defensive and contemplative.
Introspectively, I have arrived at a turning point after realising we need to focus on valuing female qualities of caring, introspection and nurturing, instead of forcing women to be more ‘manly’. We still live in a male-centric world; hence we cannot drop our armour yet. But we can allow ourselves to embrace femininity and female qualities. A value shift like that would have far-reaching consequences for the well-being of all people, making the world a kinder more inclusive place, especially when it comes to the remuneration of employees in caring and nurturing professions (such as in health-care, schooling, service providing) and also in the way we approach policy-making and governing.
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Based in: Sydney
A classically trained figurative painter who was born in communist East Germany Kathrin Longhurst began attending life drawing classes at the age of fourteen. When she was just fifteen, her family escaped from ‘behind the iron curtain’, relocating to Sweden. This jarring transition from a totalitarian regime to a democracy sparked Kathrin’s passion for exploring the concepts of freedom of speech and expression, concepts that continue to thread through her work today.
Kathrin served as vice president for Portrait Artists Australia for some years and is currently founder and director of the innovative Project 504, an art space in Sydney. She has been a finalist in numerous awards including the prestigious Archibald Prize (2018), the Portia Geach Award (2019, 2017, 2015, 2013, 2012, 2011), the Doug Moran Portrait Prize (2017), the Sulman Prize (2012), the Mosman Art Prize (2016), the Shirley Hannan National Portrait Prize, the Korea Australia Arts Foundation Prize and the WA Black Swan Prize. She was the winner of the Portia Geach People’s Chioce Award in 2017. Her work is collected widely in Australia and internationally and is represented in the Bennett Collection of Women Realists, USA.
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