Inner Journey

Original paintings by artist Kerrie Warren

Such energetic compositions and broad gestures work best on a large scale where they become an interactive visual playground rather than a painting on a wall…


'She Who Succumbs' 2013_Kerrie Warren_MRes

‘She Who Succumbs’ 2013

Acrylic on Linen, 180 cm x 180 cm


'Skipping Girl' 2013_mres

‘Skipping Girl’ 2013      

Acrylic on Linen  140cm x 240cm

*Currently exhibiting at Westpac Head Office 360 Collins Street, Melbourne


'Wrestling Demons Within' 2013_M_Kerrie Warren V

‘Wrestling Demons Within’ 2013     

Acrylic on Linen  122 cm x 198 cm



Private & Corporate Collections of this series are listed below…


‘Skipping Girl 2′ 2014 

Acrylic on Linen  180cm x 150cm

Private Collection, Tallahassee Florida USA


‘Chasing Shadows’ 2011 

Acrylic on Linen  140cm x 240cm

Private Collection, St.Kilda Victoria


‘Wrestling Demons’ 2011 

Acrylic on Linen  140cm x 240cm

Private Collection, Warragul Victoria

Featured in ‘God of Carnage’ directed by Tracey Gaylard at the West Gippsland Arts Centre Nov 2011


‘Seeking Centre’ 2011  

Acrylic on Linen  140cm x 240cm

Private Collection, Traralgon Victoria


‘The Untangling’ 2010 

Acrylic on Linen  122cm x 198cm

Corporate Collection, Rockwell Bates. Flinders Lane Melbourne


‘Inner Journey’ 2010 

Acrylic on Linen  140cm x 240cm

Private Collection, Newtown Sydney NSW


‘Shapeshifters’ 2010 

Acrylic on Canvas (100cm x 160cm)

Private Collection, Pakenham Victoria


‘Shapeshifters in Flight’ 2009 

Acrylic on Canvas (140cm x 240cm)

Private Collection, Darnum Victoria


‘Shapeshifters Circle’ 2009

Acrylic on Canvas (122cm x 183cm)

Private Collection, Newborough Victoria


‘Mind Map’ 2009 

Acrylic on Canvas (122cm x 198cm)

REDSEA Gallery Brisbane. Private Collection, Gold Coast


 ‘Unleashed Soul’ 2008

Acrylic on Canvas  122cm x 183cm

Private Collection, Abi Edwards Gallery Victoria


‘Wild Thing 2′  2008

Acrylic on Canvas  122cm x 183cm

REDSEA Gallery Singapore


‘Unleashed, Artist’s Soul’ 2007

Acrylic on Linen  137cm x 198cm

Corporate Collection, Biruu Advisory P/L  Melbourne


‘Unleashed, Wild Thing’  2007

Acrylic on Linen  122cm x 183cm

Private Collection, Carlton North Victoria


‘Divine Moment’ 2006

Acrylic on Canvas  130cm x 200cm

Private Collection, Armadale Victoria





I had sensed you from a distance,

A cold shadow in the crowd…

And watched your victims falling,

Falling to the ground…


I turned and ran so swiftly,

My heart pounding like a drum…

And I could hear you coming,

So I run and run and run…


I ran inside and locked the door,

In the darkness I did hide…

And still I heard you coming,

Heard you calling from outside…


With shaking legs and buckled knees,

I pressed my body to the door…

And I did hear you whisper,

As I slid down upon the floor…


So quietly did you enter,

Your shadow darker than the night…

As I sensed you coming closer,

I lost the will to fight.


For the first time I did look at you,

Our eyes locked within a stare…

Within the darkness of the room,

Was more than I could bare…


And gently did you come to me,

Down beside me on the floor…

You held my trembling hands in yours,

And I did want for more…


I reached out to you for comfort,

To hold me in the dark…

And what I’d give for one cold kiss,

To ease my burning heart…


So tenderly you took me then,

And I did want you to…

For I had fallen for your shadow,

And the chance to start anew.                                  


Kerrie Warren


After attaining a diploma in Transpersonal Art Therapy, with the idea that it would provide her with a means of support while following her true path as a painter, Warren eventually discovered that she had been drawn to painting primarily “for my own healing and evolvement as a person, as an artist.”

Thus she now paints full-time in her rural studio in Crossover, Victoria, approximately an hour from the capital city of Melbourne.  Yet, ironically, it would appear that the curative aspect of her work may still be more contagiously extensive than she thinks, given the serenity that radiates out from her paintings when one encounters them in a gallery context. 

“My reference points are internal, my influences are environmental and I feel a deep connection with nature and the energy of life,” Warren states; all of which may account in part for the meditative feeling of peaceful calm that her work promotes in the viewer. 

But in purely painterly terms, her technique also has a great deal to do with it.

Unlike many Australian artists who look closer to home for artistic models, attempting to emulate well known Australian modern painters such as Sidney Nolan or Brett Whitely, Warren was drawn to Abstract Expressionism.  Of the artists in that American movement, she is closest in both spirit and technique to those who work in an ‘overall’ mode of composition such as Milton Resnick, and, especially, Richard Pousette-Dart, who once stated, “I am an artist of the spirit, not of the brute physical form.”

The same might be said of Warren, whose thickly encrusted surfaces seem to undergo a magical metamorphosis from the material to the ethereal and emit actual light.  A strong sense of movement also comes into play in her large acrylics on canvas.

The vital new field of quantum physics provides Warren with some of her inspiration.  In an artist’s statement she speaks of ‘the tracking and marking of energy,” as well as “finding patterns within chaos” that enables the viewer, with the slightest perceptual shift of vision, to arrest the movement that she generates with her vigorous swirling strokes and discover the serene stillness at the heart of her compositions.  And this duality of effect, manifesting in the constant perceptual shifts that occur as one contemplates her paintings for prolonged periods of time, is what distinguishes Warren’s work significantly from that of Abstract Expressionist predecessors like Jackson Pollock and Willem de Kooning.

For Kerrie Warren appears to have evolved the capacity, through the layering of intricate tiny strokes of mainly pure primary hues that ultimately seem to meld into a single energy field, to simultaneously animate and stabilize all activity on the picture plane, and finally apprehend the calm stillness at the center of the painterly storm.


Maureen Flynn

Gallery & Studio Magazine, New York

June / July / August 2009


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