at Holly Johnson Gallery
by Todd Camplin

I guess it has been a while since I have gone to several art openings. I had clearly forgotten how much
fun the experience and energy of other people looking at art, and being seen by other people looking
at art felt. I often avoid openings in order to soak in the art alone with no distractions. That way I can
make sure that I am not being blinded by the excitement of the crowd. But on this occasion, I felt
differently, because I had seen these two artists before and I suspected the event would not sway
me much. I really wasn’t sure much would have changed for these two artists since the last time I saw
the work, but going to the Dornith Doherty opening and the continuation of Kim Cadmus Owens
show at Holly Johnson Gallery, I got a few surprises.
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similarities these seed hold, while other times pictures are like portraits of plants. As important
leaders might be uplifted in the past, Doherty lifts up her plants with reverence. Her patterns also
include symbols of her travel. Symbolic representations of Australia and being in the southern
hemisphere appear in the work Finite. The Waning tryptic was just gorgeous, and I kept trying
to take it all in, but among the crowd, it was impossible. I will have to come back and see the
work again during a quiet time, because the flow and movement of the seeds dancing across
digital influences. Yet, I see Cadmus Owens taking on a subject of shifting and changing
landscape with less straight forward nostalgia. It seems every city I travel, an artist is painting
buildings with old signs. Cadmus Owens is not about preserving the past, but rather seeing
the past intersect with the present and future. Those lines she paints are not just digital
anomalies, but rather Time slicing into the buildings for new building developments or for
empty parking lots. Early 20th century Futurist showing a moving in a dog walking with
many legs in one painting, Cadmus Owens shows these building in transition, where time,
people’s dreams, and ideas for these places change. Rubble, imperfect memories, maybe
grainy archival photos remain as memorial to these buildings, but Cadmus Owens breathes
life back into the old information of these places which really only exist in a moment of time.
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Dornith Doherty2014 Banksias 36.5x36.5 inches
Kim Cadmus Owens’ paintings and drawings will be taken down on March 28th and the life cycle of