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![Australian Indigenous (Aboriginal and Torres Strait Islander) artwork by DAVID KELLY of Miscellaneous Artists. The title is Eucalypt Sentinels. [DK1304001-7s] (Oil & Acrylic on Board)](https://media.redotgallery.com/stockroom/gallery/e/eucalypt-sentinels-1791.png)
DK1304001-7s (0)
Oil & Acrylic on Board
Eucalypt Sentinels | DK1304001-7s
Oil & Acrylic on Board
420 x 1680cm | 165.4 x 661.4in
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The ubiquitous eucalypt surrounds my home studio, a constantly changing myriad of seasonal colour, texture and form. The bush. A brittle wall of bleached summer sentinels and winter shroud of subtle greys. A single entity. The next day, the next walk, the next moment of contemplation and unique personalities emerge. Whites that are full of colour. Wounds that ooze life. Tortured angles and unlikely symmetry. Perfect imperfections. Intimate details of exquisite beauty. Scars of growth and decay. Remnants of those long gone and the promise of those to come. A community of individuals to be treasured.
A metaphor for life.
7 Panel Work - 420 x 240cm each panel.
![Australian Indigenous (Aboriginal and Torres Strait Islander) artwork by DAVID KELLY of Miscellaneous Artists. The title is Minno Creek Sentinels - Triptych. [DK1211016a-c] (Oil & Acrylic on Board)](https://media.redotgallery.com/stockroom/gallery/m/minno-creek-sentinels-triptych-2533.png)
DK1211016a-c
Oil & Acrylic on Board
Minno Creek Sentinels - Tripty… | DK1211016a-c
Oil & Acrylic on Board
160 x 120cm | 63 x 47.2in
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Beginning its gentle journey in the gully below my studio, the Minno Creek is flanked by the multi-coloured white trunks of the stately Blue Gums.
![Australian Indigenous (Aboriginal and Torres Strait Islander) artwork by DAVID KELLY of Miscellaneous Artists. The title is An Unconfirmed Number #5. [DK201511005] (Oil & Acrylic on Canvas)](https://media.redotgallery.com/stockroom/gallery/a/an-unconfirmed-number-5-6169.jpg)
DK201511005
Oil & Acrylic on Canvas
An Unconfirmed Number #5 | DK201511005
Oil & Acrylic on Canvas
150 x 150cm | 59.1 x 59.1in
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This painting extends on the building of layers, both literally and metaphorically. The visual depth is extended, taking the viewer further into the painting, the story, and the complexities of the bush. Texture, colour and line make suggestions of eucalyptus trunks and bark, age weathered surfaces and fresh scars. Horizontal lines are also reminiscent of Australian Indigenous initiation and identity scars traditionally incised across the chest. Again, the numbers representing the unconfirmed reports of victims, are placed in a formal grid as representation of European influence on the organic, pre-existing environment and inhabitants.
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