Acrylic on Stretched Canvas (c) Lee-Anne Kling 2025
One of the paintings I’ll be exhibiting in Marion Art Group’s exhibition at Brighton Central Shopping Centre, October 13 to 25.
Cheers, Lee-Anne Kling
Oops! Almost one week into Marion Art Group’s (my art group) exhibition at the local shopping centre, and I have failed to mention it. Been too busy writing, appraising hopeful writer’s works, and transcribing a friend’s biography of her mother who lived through the horrors of World War II. Plus burrowing away in the family history rabbit hole.
I have been pondering where my art genes have come from. No mention of renown artists in my ancestry. My dad was an artist with some potential, emphasis on potential as he channeled his talents more into music than art. My maternal grandfather, Sam Gross was an amazing photographer. But as a missionary pastor in Central Australia, he was discouraged from furthering his photographic endeavours as the mission board frowned on it and said he was spending too much money on camera equipment and film.
So, in light of my predecessor’s unrealised potential and the fact that I am still using the watercolour paints and brushes my dad left behind, I will share an afternoon that we spent painting in Central Australia in 1981.
My father and I sat in the dry river bed of the Finke River painting Mt Hermannsburg which towered above the river gums and spinifex. We painted our muse on site; Dad painted in watercolour and I painted in acrylic.
After a couple of hours, Dad packed up his brushes and palette and returned to the town of Hermannsburg. I stayed, in the creative zone, dibbing and dabbing, the setting sun casting shadows over the river bed and a cool breeze pricking me with goose bumps on my bare arms.
I made the final touches as the sun sank below the horizon and I was called in for tea. I signed with my maiden name, naturally, as I was only 18.
Dad’s painting and mine sat side by side on our host’s piano where all who saw, admired our work. I kept walking past and gazing at my painting. Did I really do this? Wow! Did I really?
© Lee-Anne Marie Kling 2016; updated 2024
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With Covid still hanging around Carol’s place and wearing out its welcome, I have drawn on a past Tuesday with Carol.
A few weeks ago, I revisited the tulip field muse. Carol and I like the Impressionists style. We had lots of fun playing with the blend of colours and keeping our paintings loose.
My past efforts painting these tulips at the Canberra Floriade, in watercolour and acrylic, have been less than impressive. Those paintings have ended up filed away in the drawer of no return or cut up and pieces used for cards.
But I’m happy with this piece. The difference, a bit of artistic license by putting a windmill in the picture and less tulips. It’s all to do with composition.
On a different note, but related, a couple of friends and I have been working on a community project—a publishing collective. We have called this endeavour, Indie Scriptorium. If you would like to find out more, check out our newly formed website and our first post by clicking here.
© Lee-Anne Marie Kling 2022
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Every Tuesday, or thereabouts, I get together with my friend of over 40 years, and we paint.
This painting in acrylic of Kingston Beach, depicts one of those calm early autumnal afternoons in March. Although warm and humid, the clouds gather in the west, signalling a change, and hopefully, rain. Still, it’s a perfect balmy afternoon come evening for a birthday celebration on the lawns in the park above the beach.
Much like this painting, Carol and I start the process of painting perhaps a bit weighed down by the various dramas in our lives, but by the end of an afternoon painting, chatting, and remembering way back when we were young, we feel lighter and happier.
© Lee-Anne Marie Kling 2022
Feature painting: Kingston Beach, Brighton (acrylic on canvas paper) © L.M. Kling 2022
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Tru-Kling Creations 