Kate Beynon

Kate Beynon’s familial ancestry is the bedrock of her artistic engagement and the resulting artworks are a nexus of influences. Informed by a diverse range of pictorial traditions including Eastern and Western comic books, animation, film, graffiti, calligraphy and fashion, Beynon’s paintings manifest the hybrid reality of today’s multicultural global citizen. In 1996, Beynon first exhibited images depicting Li Ji – a heroine from an ancient Chinese legend – adapted into a contemporary urban warrior. Portraiture has remained central to Beynon’s practice, allowing the artist to negotiate notions of history, race and class through the projection of the self or other.

Select solo exhibitions: Anatomical, Botanical, Sutton Gallery, Melbourne, 2018; Kate Beynon: Room of Lucky Charms, Jackson Bella Room Commission, Museum of Contemporary Art, Sydney, 2017; Kate Beynon: Friendly Beasts, Children’s Art Centre, QAGOMA, Brisbane, 2017; An-Li: A Chinese Ghost Tale, TarraWarra Museum of Art, Healesville, 2015; Auspicious Charms for Transcultural Living, Art Gallery of New South Wales, Sydney, 2008; Mixed Blood and Migratory Paths, The Physics Room, Christchurch, New Zealand, 2005; and Kate Beynon 1994-2002, Contemporary Art Centre of South Australia, Adelaide, 2002.

Select group exhibitions: Infinite Conversations, National Gallery of Australia, Canberra, 2018; The F Word, Contemporary Feminist Art in Australia, Ararat Regional Art Gallery, Ararat, Victoria, 2014; Mythopoetic: women artists from Australia and India, Griffith University Art Gallery, Brisbane, 2014; The Naked Face: Self-portraits, National Gallery of Victoria, Melbourne, 2011; Change, Monash University Museum of Art, Melbourne, 2010; Global Feminisms, Brooklyn Museum of Art, New York, USA, 2007; Identity and Desire, Art Gallery of South Australia, Adelaide, 2005; A Short Ride in a Fast Machine, Gertrude Contemporary Art Spaces 1985-2005, 200 Gertrude Street, Melbourne, 2005; Fieldwork; Australian Art 1968 – 2002, National Gallery of Victoria, Melbourne, 2002.

Beynon retrieves signs and symbols from history, thereby rejoicing in ambiguous cultural origins. She avoids rigid ethnic boundaries and stereotypes in favour of a celebratory melange of identities and physical attributes. Amidst her distinctive identity politics, she blends personal and ancestral influences in a semi-autobiographical way.

Natalie King, 2008