Kim Lynch
Kim Lynch

Melbourne, Australia

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Digital Painting/Giclee Print on Canson Photographique Rag 310 gsm


King parrots have about them an aura of tranquillity, an element I have reflected in the background.

If you move to the outskirts of an Australian city, or go to live in the bush, it's not long before the local birds come to check you out and see if you are good for a daily snack. Once that is established, they will put you on their list of drop-ins for the day, usually around the same time. Currawong first up, followed closely by noisy miners, then the magpie then rainbow lorikeets and the resident bronze wings and crested pigeons. Cockatoos are a bit tardy in the morning but punctual around 4 o'clock.

I have a backlog of favourites who now form the basis of this series of digital paintings/prints. My fascination is with their personalities, their behaviour and the fact that they are quite obviously descended from dinosaurs. It is a wonderful and slightly unsettling experience to have close eye contact with some of the smarter birds, long enough to know that you are as much the observed as the observer.
This raises the whole question of consciousness. Is it the same consciousness observing itself in different forms?

The prints are not reproductions from paintings. They are drawn, layer by layer in a paint programme with a touch-sensitive brush, or stylus. This way, they can be printed on my specialised printer that makes artwork of archival quality. In essence this is no different to traditional printmaking where the artist is both platemaker and printer.

Why digital painting for prints? The short answer is toxins. I used to wear a gas mask and gloves to make screenprints and etchings to avoid contact with some very nasty chemicals. With 20 years experience with various paint programmes, it seemed obvious to switch to digital technology for this new episode.

The Canson paper I use gives a soft matte finish, slightly chalky. The printer spits tiny blobs of colour that merge before they dry so that the result is painterly, not grainy. Somewhere between watercolour, gouache and airbrush in effect.

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(CreativeWork) Holding On Ed. 10 of 20 by Kim Lynch. print. Shop online at Bluethumb.(CreativeWork) Overview Murray River Ed. 12 of 40 by Kim Lynch. print. Shop online at Bluethumb.(CreativeWork) Ibis Ed. 10 of 20 by Kim Lynch. print. Shop online at Bluethumb.(CreativeWork) She who tears apart thought Ed. 10 of 20 by Kim Lynch. print. Shop online at Bluethumb.

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