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NATALIE O'CONNOR (LEONTARIS)

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So here are two of the palettes that I created whilst in Greece on two residencies and upon returning to Australia I completed them whilst sitting beside Michael during his treatment . They represent countless hours and I see them as an essential par

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The Silent Witness
oi siopiloí
The Olive Tree, wild and ancient, shrouds the fallen.
Acryl ic on polyester
110 x 50cm
Details, closeups and studio images-scroll ➡️

Situated on the mountain road to Sfakia, a lone olive tree stands as a witn

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A warm flow of gold and iridescence makes the world so much lighter and more beautiful.
Promises of fields of gold.

#workinprogress @green_st_studio
For upcoming exhibition LUSTRE.

Bath of @winsorandnewton iridescent watercolour medium mixed with

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In the studio this morning, but my head and heart are anchored in the battles that we all encounter in different ways.
I’m starting work on a series of paintings reflecting on the war graves at Phaleron, Greece. They speak of fallen heroes, and

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In Souda Bay, ,Crete next to the allied forces war cemetery lies an old olive grove. After an earlier painting day in the war graves at Phaleron where I read the hundreds of inscriptions for lost sons, I was overwhelmed with emotion. I struggled wit

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At Maleme, the olive trees tell the stories of battles, lives of so many lost deep in its roots and tortured bark.
Now that I’ve returned to Australia, I’m reflecting on these stories and how I am connected to this place and its histories

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I acknowledge and pay my respects to the Elders, past, present, and future and all Aboriginal and Torres Strait Islander First Nations Peoples in Australia, on the places where I live, work and research. I recognise and respect their cultural heritage, beliefs and relationship with the land, which continue to be important to the Aboriginal people living today. I give my profound thanks to the Elders of the Three Traditional Tribal Groups (3TTG), the communities of Mungo and the Willandra Lakes Region World Heritage Area.