Qdos Exhibition
The artwork of Nerina Lascelles invites viewers to reach beyond wave forms and cloud forms and ranges of mist obscured mountains, beyond rocky summits, precipitous slopes and shadowy ravines, toward depths of field within which a spacious luminescence holds sway.
Lascelles’ development has been informed as much by the formal study of art as it has by culturally focussed field trips abroad – to Indonesia, India, Sri Lanka, Tibet, Nepal, Myanmar and Japan. Her journey has followed the relationship between transcendence and art across a range of Eastern philosophical traditions within which visual art and poetry are used as aids to meditation.
The diverse materials that can include metallic leaf, hot stamping foil, acrylic, silkscreen and epoxy resin are layered into her paintings creating a pastiche of the antiquities that inspire. A select few of these treasures include scroll paintings, traditional textiles, byobu (folding screens) and Japanese lacquerware.
Influenced also by the visually arresting Shanshui (mountain/water) painting that originated in 5th century China, the abstracted landscapes featured in Lascelles’ previous bodies of work arose from an idealised impression of the natural world.
The paintings in this exhibition however, reference a number of physical locations along the picturesque Great Ocean Road in Victoria.
While her studio is situated in Melbourne, Lascelles has spent decades developing a deep personal affinity with Lorne and surrounds on countless field trips from her family home at Moggs Creek.
This series of Otway landscapes not only explore the Dadirri (inner, deep listening and quiet, still waiting) experience of connecting with this Gadabanud and Wadawurrung country - whether that be through listening to the crashing waves against the rugged coastline, sitting beside ferny creeks fed by waterfalls or inhaling the wafting eucalyptus mist deep in the forest. The paintings themselves act as sadhanas or objects for mindfulness and meditation.
As the mountains, cliffs and rock formations within these works embody strength, timelessness and certainty, waves, mist and the areas of spacious light lure viewers to mystical beyonds where form ultimately gives way to a nurturing formlessness, and where objects, emotions and thoughts are replaced by a yearning for something essential, for an essence, for a luminous presence at our core.
Lorne Independent, Issue 277, December 2024
Featured Paintings
I’d like to now share a number of paintings with you that featured in this recent exhibition:
St George River Lookout, Mixed Media and Epoxy Resin on Birch, 150cm x 80cm
This painting captures the celebrated coastal view from Teddy’s Lookout, a site well-known to locals and visitors for its dramatic scenery of the Great Ocean Road.
This work homage to the scenic beauty of the St George River mouth, while embracing the artistic nuances of Japonism. By blending the local Australian landscape with Japanese aesthetic traditions, Lascelles offers a unique synthesis of styles and cultural perspectives.
Japonism Influence:
• Vertical Format: The choice of an elongated vertical composition mirrors the design of traditional Japanese Kakejiku (hanging scrolls), encouraging a meditative and layered viewing experience.
• Surface Treatment: The epoxy resin coating mimics the glossy finish of Japanese Shikki (lacquerware), enhancing the texture and visual depth, reminiscent of traditional craftsmanship.
• Stylisation: Featuring simplified forms, clean lines, and a harmonious colour palette, typical of Japonist reinterpretations.
By portraying a familiar and iconic landscape in a way inspired by another culture, the work challenges viewers to rethink their connection with nature. It bridges local identity with universal artistic expression, creating a dialogue about perspective, memory, and cultural exchange.
This fusion makes the artwork not only visually captivating but also conceptually rich, inviting reflection on the interplay between place, art, and cultural heritage.
Great Ocean Road Lookout, Mixed Media and Resin on Birch Board, 120cm x 120cm
Between Eastern View and Lorne on Gadabanud country lies a landscape less travelled but no less breathtaking. Climbing into the bush above the Great Ocean Road, I immersed myself in the land—sketching, meditating, and practicing Dadirri (deep listening) before returning to the studio to create this painting
Eagle Rock, Mixed Media on Canvas, 152cm x 152cm
‘Eagle Rock’ features a surf-coast landscape inspired by the iconic offshore rock at Aireys Inlet on Wadawurrung country. Standing 20 meters high and capped with limestone, Eagle Rock evokes parallels to the wave-sculpted 12 Apostles further south.
This site, central to the 17-hectare ‘Eagle Rock Marine Sanctuary’, embodies the area’s natural beauty and ecological significance. The sanctuary’s sandstone and basalt caves, rock pools, and offshore underwater shelves form a delicate ecosystem, home to diverse species of seaweed, algae, birdlife, and marine organisms. It’s a cherished location for both locals and visitors, preserving the coastal heritage of the region.
Incorporating influences of Japonism, this artwork echoes the aesthetic traditions of Japanese folding screens (byōbu). The gold-leaf background and intentionally emptied spaces evoke the minimalist elegance of byōbu, which date back to 7th or 8th century Japan. Historically used to divide and light interiors, these screens inspire a sense of balance and luminosity, offering a reflective homage to this cross-cultural artistic lineage.
Lower Kalimna Falls, Mixed Media and Epoxy Resin on Birch, 120cm x 120cm
Nestled deep within the Otway Forest behind Lorne, this hidden gem feels like stepping into a dreamscape. Lower Kalimna Falls captivates with its shimmering curtain of water and lush, fern-filled sanctuary—evoking visions of a serene utopia. 🌿
In this piece, I’ve aimed to translate the ethereal energy of this magical place. Layers of metallic foil and leaf glimmer beneath glossy epoxy resin, while iridescent highlights illuminate the cascading water. The interplay of texture and light creates a dynamic sense of movement and wonder, inviting the viewer to step into the scene.
It’s fascinating to think about the Gadabanud (King Parrot People), the traditional custodians of this land, and how they might have found refuge and inspiration here—protected by the embrace of nature from the coastal wilderness.
Moggs Creek, Mixed Media and Epoxy Resin on Birch, 120cm x 120cm, 2024
This painting holds a special place in my heart, capturing the beach view at Moggs Creek on the Great Ocean Road. Whenever I can, I return to my family home here—breathing in the salty coastal air, exploring the state parks, and finding endless inspiration in the landscape.