Total number of images: 28
Jinari was born in Australia in 1975, a time of local political upheaval, rock music, post-war bitterness, hippy love (drugs and other stuff), and at the dawn of technological revolution, the globalisation of market economies and culture. This milieu has indelibly left an imprint on her outlook of the world, and continues to influence her art. Jinari has followed a strong line of women artists in her family. She attended Prince’s Hill Secondary College, and it was here that she learned formal techniques, and was rewarded with several state prizes in photography. She then attained a BA, and a BSc at Monash University, and a Dip in Holistic Counselling at Phoenix Institute. With art now as her major endeavour, she sells her works internationally and has worked with public and private clients as an Art Therapist, and as a facilitator of community art events.
I am interested in expressing something which evokes a deeper understanding of ourselves, others and the natural world. I draw on cultural understandings and symbols of diverse ethnic groups; looking regularly for the teachings and images that survive time and change, and always for those which are common to all. In addition to my own Celtic-Hungarian ancestry, I am privileged to have spent intimate time with indigenous peoples in Australia, America, New Zealand and the Pacific Islands. Informed by these experiences, a good portion of my art “work” is the process of opening and awakening myself enough to hear the Universe speaking. It is with respect that I then try to convey and understand the images which find me. It is truly awesome to surrender to the images, which come via dreams, meditation, and vision.
• Next Wave Festival – Slides for play 1992
• Castlemaine Fringe Festival – Dreams, Group Exhibition 2000
• Castlemaine Fringe Festival – Group Portrait Exhibition 2002
• Castlemaine Fringe Festival - Community Art Exhibition 2005
• Castlemaine Goodfoods - Solo Hanging 2006
• Castlemaine Fringe Festival - Exhibition and Auction 2007
• Castlemaine Art Gallery - Loss and Greif Group Exhibition, 2007
• Phee Broadway Theatre – Land and Spirit , joint Exhibition with Rosy McKenry 2009
• aHa Studio and Gallery, Brunswick – Group Exhibition 2010.
• Castlemaine State Festival – solo studio exhibition, Born For This 2011
• Illford Student Photographic Competition - First Prize 1992
• City of Collingwood Photographic Competition - First Prize 1992
• Age/Nikon Photography Competition - Heat Winner 1992
• Age/Nikon Photography Competition - Special Encouragement Award 1992
Commercial and promotional works for:
• Bismilla Café - 1992
• The Preston Computer Group - 1992
• Photo Portrait Commissions - 1992
• Monash Environment Group - 1996
• Wholefoods Restaurant - 1998 - 2000
• Santa’s Photo Factory - 1996
• Soaring Heart and Earth Lover Clothing - 1996-2006
• Castlemaine Community House Spring Ball - 2002
• Earth Lover Poster - 2002
• The Blenders - 2004
• St Lukes - 2005
• Green Goes the Grocer - 2006-2007
• Berkley St Kindergarten - 2006
• Mount Alexander Sustainability Group - 2007
• People of Peace poster - 2007
Art Therapy Work:
• Tutor for Art from the Start, for Castlemaine Community House - 2005;
• Facilitator for Loddon Prison’s Stronger Families program 2005, 2006 and 2007
• Private Clients 2006 - 2011
Community Art Works:
• Organiser and Facilitator of Mothers for Peace Community Protest Mandala - 2003
• Organiser and Facilitator of Mothers for Peace Mandala Making Workshop, Castlemaine Inter-faith and Peace Festival 2003
• Rye Interfaith Peace Festival, Art Space Facilitator 2008
Total number of images: 28
- The Moon Will Have Her Way
- Description: Acrylic on Canvas, 2011, 95cm x 95cm. For Sale This painting depicts the problem of Estrogen pollution. It makes reference to the traditional Celtic Goddess, Ostara, who had a hare familiar, and who was associated with fertility and Spring. With many benefits deriving from modern management of fertility, we also must face the environmental and human health problems created by Estrogen pollution. This painting has a light look at this complex and darker subject matter, with the positive spin being in fertility's favor, as a goddess who cares not which form life takes
- Angel, 2011
- Description: Acrylic on Canvas 252cm x 180cm Angel, who at first appears Christian actually relates to knowledge and practices which are something quite different. Essentially she is a Celtic woman. Her wings represent her status as a priestess and depict her ability to journey into other realms, such as the fairy realm, or astral travel. Prior to Christianity the goblet is believed to have represented the creative power and essence of female magic and knowledge, this she carries in her heart to share with the people. The three roses, represent the old trinity of maiden, mother, crone...and the creative seat of woman with one womb and two ovaries.
- Ancestral Incarnation, 2010
- Description: Acrlyic on Ply Wood 110 cm x 102 cm Ancestral Incarnation is about the loss and reclamation of cultural identity. It depicts my own husband’s search for his ancestral roots as an Australian Born descendant of an unknown Native American code talker from the Second World War. The painting shows the central figure moving toward the Sundance tree, in a traditional ceremony which honours and seeks to give strength to the tribe, and indeed to all people who are born of and related via the Mother Earth.
- Reservoir, 2008
- Description: Acrlyic on Ply 92cm x 183cm Reservoir depicts the interconnectedness of all things. The central theme is about the four colours of people on the Earth, as described in Black Elk’s vision of the four sacred colours of the sacred hoop and the tree of life. In the painting each different cultural group is represented in a blanket or cloak decorated with symbols from their cultural practice and beliefs. As shown these symbols and practices are in direct relationship to the surrounding natural world, as they flow out of the landscape and on to the quilt. The quilt itself forms a cocoon like structure around the four people, in a way that unites them and highlights symbols and forms which are perhaps relevant to all; we have the four cardinal directions, the four elements, above and below, male and female, conscious and unconscious, day and night.
- Beach Banshee, 2007
- Description: 113cm x 84cm Beach Banshee is a modern interpretation of the Ancient Celtic Banshees. She is angry and fierce, but just like the misunderstood banshees of old, she is not a threat or the bringer of death, but a messenger and one who honours that which is sacred. Just as the Ancient banshee mourned the death of those who carried the ancient fairy bloodlines, beach banshee morns and wails for the current loss of life that accompanies our destruction of the natural environment.
- Gathering Moon, 2009
- Description: 95cm x 95cm Gathering Moon depicts Ramindgiri Aboriginal understandings and stories about the relationship between women’s cycles and the Moon. It speaks about the balance women must find in their lives between family/community responsibilities and their own physical, spiritual and mental health.
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