Ashe, K. (2025). The Mantic Stain of Experience: Surrealist Automatism and the Irreproducible. M/C Journal Forthcoming 2026. Double Blind Peer Reviewed Academic Media/Culture Journal. Introduction: Experience, Ritual, and Irreproducibility in a Post-AI Image Culture The Surrealist movement of the early twentieth century positioned ‘irrational’ experience, such as intuitive or unconscious knowledge at the core of creative innovation. To bypass the constraints of rational tho

NAZARRI Anna, The Awakening, 2022-2025. Alumalux Print 60 x 91cm Exhibition Essay for: The Foreign Within WALLACE GALLERY, PERTH WA...

By Grace Slaven, visual artist and PhD candidate To transform takes metamorphosis. It cannot be learnt, only experienced . Kelsey Ashe...

Essay by Sandra Harben; Nyoongar yorga and traditional owner of the Whadjuk region & Dr. Kelsey Ashe Published 2022 CROSSINGS BILYA BIDI;...

Exhibition duration from 1st February to 30th March at ECU Galleries; Spectrum Project Space Curated by Dr. Harrison See with support...

Sandra Harben, Kelsey Ashe, 2022. 'Wam Wardanup doyntj doyntj koorliny' (Strangers on the Shore going along together). Large Scale Screen...

A lasting legacy to the cultural and social impact left by the Fremantle Biennale, this book is an illustrated monograph that speaks to the theme of CROSSING 21. Contextualising Walyalup’s (Fremantle’s) history and the subsequent layering of colonial and contemporary narratives, the book will hold a collection of essays, reflections, poem and correspondences, illustrated by the works of contemporary artists, writers, community leaders and Whadjuk Noongar Traditional Owners. C

This article appeared in The Debutante: Feminist Surrealist Odysseys (Issue 02) in October 2020. Based in Edinburgh, Scotland UK. Image:...

Curator: Anthony Elms, Chief Curator, Institute of Contemporary Art (ICA) at the University of Pennsylvania and Curator of the Whitney Biennial, 2014. Kelsey Ashe, 2019. L to R: 'Ama Swim', 'The Weight of these Pearls', Pearls Dream, Digital Printed Film Stills on Archival Art Rag Paper. What kind of work do you make and what kind of materials do you use? What’s your process? I am an inter-disciplinary Artist. I would say I am a representational artist, in that I depict land

'Something is happening in Australian Art today. We are witnessing the resurgence of ideas that took root centuries ago – a return to passion in art; a return to atmosphere and awe. Historians called it Romanticism; a disposition for melancholic yearning, for communion with nature, for the sublime. Australian artists, in countless numbers, are engaging with these themes again today….’. Simon Gregg, 2011, ‘The New Romantics, Darkness and Light in Australian Art’. Moon over Ind

FROM THE ARTIST - REGARDING THE FILM - 'PEARLS AND BLACKBIRDS' I wish to acknowledge the Traditional Owners of country throughout Australia and recognise the continuing connection to land, coast and sea through enduring culture. I pay my respect to their people and Elders past, present and emerging. This artwork is a meditation on immense beauty and pain, humanity and redemption. It provokes difficult, yet transformative conversation by adding expressive voices to this sign

This article appeared in ARTISTS PROFILE magazine: https://www.artistprofile.com.au/kelsey-ashe/ Australian artist Kelsey Ashe’s new film...

The pursuit of characterising an Australian identity has been the preoccupation, even obsession, of many artists, designers, writers, critics and historians throughout every generation (Willis 1993; Kaiser 2012; Craik 2009b). The conflation of Australian identity and nationalism with landscape art has been discussed at length by many scholars and writers (Thomas 2017, Smith 2002; Riopelle et al. 2017; Willis 1993; Radford2007; Broinowski 1992; Butel 1985); however, it is impo

Imaginary Aesthetic Territories – My Antipodean Floating World (An excerpt from a chapter in my Phd where I discuss my approach to...

Pearls and Blackbirds – Visualising hidden heritage through contemporary art film WA State Heritage & History Conference 2019 – ‘Handle with Care’ Paper + Notes Dr. Kelsey Ashe Giambazi Image: Pearls and Blackbirds Harbour Projection and Activation, Fremantle Biennale, 2019. I wish to acknowledge the custodians of this land, the Noongyar people of the Whadjuk nation and the Yawuru people of which this paper concerns. I acknowledge and respect their continuing culture. I also

A theme within ukiyo-e art which has been of great influence on my art work and a more visible form of wabi-sabi sentiment is kachō-ga (or kachō fugetsū ) meaning ‘flowers and birds’ (Narazaki 1970). The aim of kachō-ga is never simply to portray a botanical or representational depiction of flowers or birds, but to express a subjective emotion. First developed in the Shinto-influenced Heian period in traditional Japanese painting (794-1185), kachō-ga can also mean ‘wind and m

[Excerpt – Imaginary Aesthetic Territories, 2018. PhD Thesis] I examine the source of my cross-cultural fascination, namely, traditional...