Creative Parents: Kathryn Dolby (contemporary artist and mother of two)
"Life is an exquisite, painful and mysterious combination of states."
Today’s interview is with contemporary artist, Kathryn Dolby, who is based on Bundjalung Country / Northern Rivers, NSW. I first interviewed Kathryn for the original series in Hunter & Folk, so it’s been great to touch base again and update the interview. We’ve worked together on a couple of things since then, and I personally feel as though Kathryn has been along with me on this parenting journey — though we’ve never actually met in person (which feels wild for how much we message on Instagram!).
For her current exhibition at Michael Reid Northern Beaches, The Fountain, until 28 June, she returns to the natural yet mythical world around us as she tries to make sense of it all. She reveals that the metaphor of the fountain represents “the uncontrollable forces of nature and the human experience… It’s a flow of water in constant transition between here and there. Like ourselves, moving through life, shifting, changing. The elements mirror this also and continue to reappear in my paintings as a dance with colour.”
Her artworks are more than just landscapes; instead, they tap into the emotions that you feel in nature. One that transcends into an almost a magic-like zone. As I discussed in my essay for her Otomys exhibition, Feeling into Form in 2024, it’s similar to Philip Guston’s concept of 'The metaphysical plane'. I wrote: “An enigmatic other space accessed by releasing control: as soon as you try to force it, it disappears… a fleetingness, another realm.” It’s here that Kathryn’s works represent a return to innocence and play. Continued in the essay, I wrote, “Something lighter. The air surrounding a child doing a cartwheel on the beach evokes a shift in perception. A pure, childlike sense of freedom, akin to a quick little splash of a painting from a toddler. A fresh burst of energy.”
This interview is full of gems and insights. I’d love to hear what you think in the comments! Here is the Q&A of Kathryn Dolby, contemporary artist and mother of two:
Can you tell us about your art practice — what do you create, with what, and why?
I generally refer to my work as moody, abstract landscapes that look to find poetry in everyday experiences. I draw from nature, motherhood, the weather, and relationships to ask questions and make sense of things. I usually use thinned-down acrylic paint on birch board, in a similar manner to watercolours, and then I gradually build up the layers in an expressive, fluid and curious way. However, I'm about to begin my return to oil paint, which I will also thin down to achieve a similar sense of movement.
Basically, it’s a way of processing being alive! And in a meditative sense, it helps me to find calm and quiet in a complex and noisy world. I think painting is a place I find refuge. It's where all of our experiences can circulate, like a big hearty pot of stew. Picasso once said, 'painting is just another way of keeping a diary'. Also, as I continue to dive deeper into my studio practice, I’ve realised that the work really becomes a search to find meaning and truth. There is an instinctive leap into the unknown that is becoming more apparent the longer I pursue this. It’s an exciting space to be in.
I've dabbled with film, drawing, photography, and printmaking, but I'm always pulled back to the immediacy and fluidity of paint. It stimulates and challenges me.
How did you get here?
I think back to when I was a teenager and I first saw a large, yet minimal, Abstract Expressionist painting in a magazine. I remember stopping and staring for a considerable amount of time. It was like a road sign, letting me know the direction I also had to take. There was another pivotal moment like this when I was in my later teen years, visiting the National Gallery of Australia with my dad. I saw a small, unassuming painting that was installed in the back corner of an exhibition. It was of a man sitting on a park bench, surrounded by nature, watching the world move by him. It had the same impact on me as the large, Abstract Expressionist painting, yet they were completely different. Expressive, yet quiet. They both captured in between moments that weren’t specifically stating an obvious, yet they held such power to me. I carry these with me today as key moments that lead to my curiosity of combining disparate elements to carry similar emotive states.
When I was at art school, I also found this quiet, expressive, poetic and emotive power in minimalist artworks by Robert Ryman, Joseph Marioni, and Helen Frankenthaler. Through exposure to these paintings, study at university and years of experimentation in the studio, I've found my own way of exploring similar qualities, yet through leaning on my own experience and questioning, hopefully a new visual vocabulary is emerging out of it.
What inspires your work? Any particular art movements or philosophies?
I definitely draw from personal experiences. I think it's when the work is the most authentic and, in turn, relatable. Ultimately, I’m always guided by and searching for a certain sensation.
I think the exciting aspect of contemporary art is that you can dip into all art movements instead of adhering to one. I love the challenge of finding the sweet tension between abstract expression and minimalism, impressionism with realism. I'm always on the prowl to find where contradictory states can meet and sing together in a painting. Life is an exquisite, painful, and mysterious combination of states.
When did you know you wanted to become an artist?
There was never really a moment where I said, 'hey mum, I want to be an artist'... it was more 'hey mum, how much of the house can I turn into my studio' (and I did take over half the house). It was just something I did. I realised how important it was for me in the middle of high school, though. It was a way of surviving and making sense of a confusing time. The context has changed, but painting still provides that place for me to unravel thoughts and questions as an adult.
Was there an influential figure growing up, and do you feel as though it might be something you'll pass along to your children?
My sister Jess, who is nine years older than me, was incredibly creative as a teenager. I have vivid memories of attending her drama and dance performances at the high school when I was in primary school, and also finding a huge folder of her charcoal life drawings. Looking at the drawings gave me this feeling of blood racing throughout my body that I had never experienced from anything else before.
I’ll encourage my kids to do whatever it is they’re passionate about, but they both definitely love being in the studio. I usually set up an easel for Freda and a little table at her height, and she churns these beautiful abstract paintings out with such confidence. I love how kids have that freedom to just let go and not overthink things.
What have been some of the highlights of your career, and what do you have coming up? Do you have a favourite project?
Exhibiting in Berlin with Michael Reid is at the top, plus working as an artist’s assistant for Ben Quilty, Guido Maestri, and Luke Sciberras, and then exhibiting at the Spring1883 fair with Otomys in 2022.
My new solo exhibition opened at Michael Reid Northern Beaches recently, and I’m excited for this show as I feel I went to new depths in the studio and had a few breakthrough moments.
Who is in your family and their ages?
My family consists of myself and my partner Steve — he has been the most incredible support over the last nine years, and we have two little girls who are seven and nearly three.
Have you always lived on the Northern Rivers, why did you choose this area to raise your children and build your art career? It would also be great to reflect on your own home + art / design choices with your family in mind.
Yes, I've lived in the Northern Rivers for a long time! I moved to Sydney for a year, which I loved, but I'm a country girl at heart. Choosing to live here was definitely more affordable, as I have a huge studio next to the house, which is ideal while mothering. Space was always tricky for me to find in Sydney. I love that we are constantly surrounded by nature. We live in a small, open-plan, cottage-style home that has a huge deck in amongst the trees. It’s a great area for the kids to play, and we sometimes paint out there too.
Our home is filled mostly with art swaps, gifted pieces, a few small purchases, op shop finds and many paintings by my kids. My most precious pieces include the graphite drawing of my grandma holding a chook that I inherited, by my great, great aunt Grace Crowley, a little painting I bought from the Warlayirti artists by Imelda Yukenbarri, and my all-time favourite is a funny little ceramic piece made by my 3-year-old Leni. Our collection includes John Olsen, Guido Maestri, Amber Wallis, Jonathan Kopinski, Sally Anderson, Luke Sciberras, Lenny Larkin, Heath Wae, Mia Forrest, Ben Quilty, Seth Searle, Ely Smithwick, Dylan Jones, Michael Cusack, Tessy King and Anh Nguyen.
Has becoming a mother changed your practice?
Absolutely! After having my first child, my work became faster and more expressive. Out of necessity, I had to move quickly, which I think breathed new life into the work. After the birth of my second, there was another shift because of the increase in time constraints. It took a few years for me to find my rhythm again, and the work shifted out of necessity. But as they are both older now, I have more time to wrestle with the paintings. I think the works are filled with a new depth after becoming a mother. The extreme highs and lows that we experience on a daily basis all funnels into the studio. It’s an absolute honour to witness your children morph and take the world in, and the emotional rollercoaster that comes with that is always fuel for creative work.
What does your day-to-day look like, and how has this changed from previous to having children?
It's changing quite quickly as the kids grow older and now revolves around school hours and day-care days. I prioritise exercise for myself and regular walks/runs in nature to keep myself strong and focused.
You definitely have to become far more efficient with your time and what you can juggle. I find that regular exercise helps me to achieve more, as I'm still so sleep deprived. Our weekends are mostly spent in the garden and in nature with the girls.
Do you have any advice for creative parents?
Take your time and know your boundaries. Also, be gentle with yourself and chip away at projects when you can. There's a lot of pressure to keep the wheel rolling, but I think there can be a lot of benefit to downtime as well, to recalibrate, and reflect. Journal ideas when you can, even if it’s on an envelope on the kitchen table! Keep your mind active. Then return with full force when you can.
What are your thoughts on the approach of the arts industry to parents? Where have you found support or lack of?
I have definitely been encouraged to keep painting through the baby days. Sometimes this can feel difficult, and I have moments of needing to stop as the juggle is immense, but my galleries were both very supportive of me needing to take a year off from exhibiting. I found this so vital and healthy as I returned buzzing with creative energy. I just have to be very clear about what I can achieve within a given timeframe.
Do you have a mantra/ quote that keeps you going?
There is a mantra I learnt from my days doing Ashtanga Yoga, before I had kids, and it was ‘Practice, practice, all is coming’. I still lean on this! I think it applies to anything you set your mind to. Keep going, never give up, and the clarity, understanding, and resolution will come.
‘In Kathryn’s paintings, I’m reminded of time, what it is to feel the slowness of parenting yet the quickness of children growing and seasons of change. What autumn feels like looking out the green window structure, but also autumn arriving to us, pulling us in. When we bring everything into the studio with us, it all finds its way into the paintings in non-linear, indistinguishable ways, but like time, it becomes abstract and not quite understandable. It is the uncanny making itself known and throwing us around like the wind, the fountain or the river perpetually in a state of movement and peace.’ From Amber Wallis’ essay for The Fountain
Website: www.kathryndolby.com
Instagram: @kathryndolby
Thank you E-K 😘