Natalie Lavelle is an Australian artist living in Meanjin / Brisbane. Her practice playfully defies Western-centric, masculine techniques by engaging instead with Eastern art philosophy. Her works also account for feminine sensibility, relishing in material pleasure and perception and thus, retain a capacity for experience. With such, she explores the physical, spatial and material existence in painting and their relationship with abstraction through gesture, form and the sensuous.
At its core, Natalie’s practice broaches concern for the relationship of human and object, and the physical and abstract likenesses of both (human and non-human) bodies. Her paintings offer the ontological nature of the medium as subject that points both, inward to the works themselves and outward to the relationships with other things. With our attention on bodily structures, we become conscious of a recognisable common physicality of object and Self and ultimately our space amongst all things and the world.
In 2020 she graduated with a Bachelor of Fine Art Honours (Class I) from Queensland College of Art (QCA), Griffith University. Her work has been exhibited at Outer Space, Jan Manton Gallery, STABLE, POP Gallery (QCA Galleries), Byron School of Art (NSW) and Five Walls (Vic.). Natalie was selected as the winner of the Abstraction Art Prize 2020 judged by Andrew Baker and The Zonta Club Brisbane River Acquisitive Prize 2018. Natalie is represented by Jan Manton Gallery, Brisbane.
Paul Bai, Painting in Space, (Exhibition Essay: Something More, Outer Space, 2 June - 3 July 2021)
Zali Matthews, The Weight of Paint, (Exhibition Catalogue: Rekindle, Jan Manton Gallery, 21 April - 9 May 2021)
Physical Perception, 2021 at STABLE, Brisbane.
Work: Untitled I (Deliberate Pictures Series), 2020
"Above all other works in the exhibition, this painting connects directly with the origins of Western abstraction from the 1910s and -20s. In so doing, it exhibits lessons learned from early adherents such as Kazimir Malevich and Theo van Doesburg. Echoing Japanese and Chinese calligraphy, Natalie’s single sweeping brush stroke is at once deliberate and controlled — yet has a looseness that provides both movement and tension to the picture. The vertical string-line bisecting the picture plane adds a note of formality and provides a reference against which the viewer might contemplate placement of the large shadowy brush stoke upon the painting’s brilliant white rectangular ground."
-Andrew Baker (Art Dealer, Est. 2000)
Untitled I (Deliberate Pictures Series), 2020, acrylic, gesso and string on canvas, 135cm x 100cm. Photo by Louis Lim.