Naomi Hobson: My stories, culture and my Country

 
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Naomi Hobson, Kaantju/Umpila people, Australia b.1978 / Grass Seed Rain 2015 / Synthetic polymer paint on linen / Courtesy: The artist and Alcaston Gallery, Melbourne / © The artist

Naomi Hobson is an emerging artist based in Coen, a small town at the heart of Cape York, near her country in the McIlwraith Range. This country is one of Australia’s great ecosystems, a land of abundance physically, spiritually and culturally, which inspires Hobson in her energetic paintings.

Coen is my home and the people and country mean everything to me. I have always painted in my own personal space where I feel most comfortable, including my back veranda, in the dry river beds and on the banks of fishing places from my childhood, as well as at the camp sites where my families have lived and spent time for thousands of years. I always take time to look at the miniature things, the tiny things that nature hides.

It is my love of creating new art and my Country that inspired me to become an artist. The colours and patterns of nature itself, stories from the past, the unique transformation of the land over the seasons . . . and my own special places that are etched in my memory — these are places I regularly visit. It is through my art I aim to reflect and share with others — in a contemporary way — my stories, culture and my Country. My style also reflects my individuality . . . I want my work to tell my stories in an innovative way. I want to introduce new work, to maintain a point of difference. I want to redefine and not recycle.

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Naomi Hobson, Kaantju/Umpila people, Australia b.1978 / November Grass 2015 / Synthetic polymer paint on linen / Courtesy: The artist and Alcaston Gallery, Melbourne / © The artist

The accompanying publication for ‘GOMA Q: Contemporary Queensland Art’ profiles the latest innovations and achievements by some of Queensland’s leading visual artists working across drawing, painting, photography, video, installation, performance, ceramics and sculpture.

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