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Kim Nelson (1958–2015) was a celebrated Australian symbolist artist known for his spiritually evocative works and diverse creative journey.
Born in Kiama, New South Wales, Kim grew up in a farming family and was related to renowned landscape painter Leonard Long OAM. His artistic talent emerged early, and at age 17, he studied life drawing at the Julian Ashton Art School in Sydney—his only formal art training.
Before fully committing to fine art, Kim worked in graphic design, advertising, and music, and later served as a manager/curator for historic properties under the National Trust of Australia. His curatorial excellence earned him multiple awards in heritage and tourism.
In 1996, Kim transitioned to a full-time fine art career, subsequently staging exhibitions across Australian states, including NSW, VIC, WA, ACT and TAS.
His work was exhibited internationally and is held in prestigious collections such as the Australia High Commission in London and News Limited in New York. Kim’s exhibitions were opened by prominent figures including Sydney Lord Mayor Clover Moore, the Hon. Barry O’Keefe QCAM and financier Rene Rivkin.
Kim completed commissioned art for the National Trust of Australia, Pan MacMillan Publishing, the ACT Supreme Court and international media magnate Rupert Murdoch.
Beyond his artistic achievements, Kim was deeply committed to philanthropy, donating art to organisations such as UNICEF Australia, Rotary International, the NSW Volunteer Bushfire Brigade, AMACC (Afghan Mother & Child Care), Koomarri Canberra, The Smith Family and CanAssist.
He lived and worked in the foothills of the Brindabella mountain range, near the Australian national capital, Canberra. From 2010 - 2014 he directed the Kim Nelson Fine Art & Editions Gallery located in a historic Oddfellows’ Hall in the heart of Yass.
Kim founded the regional arts initiative YASSarts which seeks to promote the arts and culture of the Yass Valley region.
In 2013 Kim was named Yass Valley 'Citizen of the Year' in the Australia Day honours for his work in the community and specifically for his services to the arts. Kim was also posthumously awarded the NSW Premier’s Award.
His paintings delved into spirituality, mythology, and human emotion, often evoking a sense of timelessness.
Kim’s work explores spiritual and metaphysical themes through a blend of classical and abstract styles. His art often features recurring motifs like the Red Shawl, which adds layers of mystery and symbolism to his compositions. Drawing inspiration from the great works of the past, Kim said: "I seek not to emulate the styles and techniques of the past, but to reinterpret and develop them in the present and for the future."
The Kim Nelson Retrospective is lovingly curated by his daughter, Caitlin, to commemorate the 10 year anniversary of Kim’s passing.
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In Kim’s words:
“The classic William Piguenit painting A Mountain Top, Tasmania is one of those iconic 19th century Australian artworks, suggesting the sublime and highlighting the Tasmanian wilderness.”
“What better vehicle to use in the great Post Modernist tradition of appropriation - in this case to suggest the gradual loss of wilderness and indigenous fauna and flora.”
“I felt that composing an artwork in a grid format (inspired by artist Imants Tillers) was an excellent device for suggesting the gradual eroding of wilderness. This is indicated by the sinking away at different levels of some sections, color fading in one, image blurred in another, and the sum of the parts not looking quite right.”
“At the very base beneath all this, we see revealed in two sections, the fossilized remains of a Thylacine (Tasmanian Tiger). At the bottom left corner, Banksia Integrifolia, also thought to now be extinct in Tasmania. The grid system also alludes to the marking out of evidence on archaeological sites, further enhancing the suggestion that our wildness regions may soon become a thing of the past. All of this being cause for lament.”
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