Belinda Street explores the relationship between representation and abstraction in her Kosciusko series of works: “I really love alpine areas, I seem to be drawn to them. They’re always a bit shifting, a bit unstable, a bit like life really. I’ve been going down Kosciuszko particularly for many many years now, and every time I come back to it, it’s kind of like an old friend that you haven’t seen in a while. Being on top of that mountain, it’s quiet, there’s nothing, but it’s so sensory. I’m interested in that remembered feeling of being in the landscape. An abstract impression that evokes the emotions or sensory experiences that I had when I was in the landscape.

“When I start they’re all very loose, they’re abstract, and then you draw into it, and then more blocks of colours and marks, and then there’s a turning point with whether I head more towards abstraction or representation and usually it’s the painting that determines that. And when you’re working up close on a larger work, it can seem more abstract and then you step back, and suddenly it’s the actual scene!”