THE ARTIST

ABOUT JULIE POULSEN

For Julie Poulsen, everyday narratives provide the starting point and word play drives the momentum. Sequential to producing artwork, Poulsen writes to validate her ideas. This literary honing feeds, simplifies and substantiates, paving the way for rigorous experimentation.

Born and educated in Brisbane, Poulsen spent a year with her family in Cooktown in 1977 before moving to Toowoomba to embark on a Diploma of Creative Arts. At the Darling Downs Institute of Advanced Education, an era of non-directed study formulated a mindset of investigation characterising her future art practice.

Painting remained the focus until 2002 when the nature of Poulsen’s practice shifted. Works became light and open, a combination of painting, drawing, printmaking and stitched assemblage. In 2005, Décor Sermon, a playful reinvention of the puffed up fads and frippery of the perfect interior décor clarified this new direction in an exhibition of 50 continuous metres of artwork.

In 2006 Menu Board followed with trademark playfulness and wit, the text, language and aesthetics of chalkboard café menus and roadside signs.

More recently shown in Sydney, House and Land package, House Portraits and The Princess gets to hold the cats. Ongoing landscape inspired works, the current body Glimpse to be shown at Cairns Regional Gallery June, 2012.

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Country for Birds now showing until 9th of November 2013 The Depot Gallery 2 Danks Street Waterloo Sydney

Country for Birds

The landscape of Far North Queensland is both contemplative and provocative, to stand in a particular space is to acknowledge its individual sentiments. There is often serenity but seldom utter silence. It is the presence of birds within the landscape that teases inspiration.

Machan’s Beach north of Cairns was the catalyst for motivation; here the sand floats into mudflats bumping against the mountains bordering Trinity Inlet. This stretch of beach is invariably peppered with birds, spindly and dolloped, loose limbed and wobbly; their gestures evident from afar.

It is these abstract marks against the brown of the sand bar, and purple grey smudges of the sea, that drove the idea for painting birds as an integral part of the landscape and hence Country for Birds.

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