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Kathy Landvogt
Artworks
The Land is My Blanket, 2026 (image one)
66cm x 76cm x 20cm
Repurposed oil painting on canvas, felted woollen fabric, vintage darning wool, hand-spun nettle thread
The Wrong Side, 2025 (image two on plinth)
46.5cm x 54cm x 11cm
vintage organza, wool gauze fabric, silk thread, woollen stuffing (various), timber (Victorian Ash), brass
The Landgrab, 2026 (image two top left)
91cm x 62cm x 4cm
vintage organza, wool gauze fabric, silk thread, woollen stuffing (various), hand-twined polypropylene rope (reclaimed agricultural debris), tea- and rust-stained muslin, paper, upholstery trimmings, timber, brass
The Woolprice, 2026 (image two top right)
91cm x 62cm x 24cm
Vintage measurement scales, foraged natural fibres, artist’s hand-twined string, wool fleece, artist’s hand-spun wool, upholstery trimmings, scrap metal, timber, brass
In this body of work, I am probing the cultural blind-spots absorbed over my lifetime as a woman of settler heritage.
The Wrong Side, 2026
‘The Wrong Side’ offers two sides to the story of settlement by pastoralists in 1840’s Victoria. Based on a map of the sheep runs and the Aboriginal Protectorate occupying DjaDja Wurrung Country and positioned within a frame that suggests a museum display, this work questions the historical record and its telling. I use materials and techniques to carry much of the story. ‘Trapunto’ quilting creates scars where the fabric is cut, stuffed and re-stitched, suggesting the damage done by settlers. Wool forms one side of the quilted map and is used as stuffing: the wealth of wool drove the colony’s rapid expansion. On the other side, fine broderie organza evokes the gentility thought to bring its ‘civilizing’ influence to the supposedly untamed land. The whole textile is pulled in two directions over the frame under a tension that threatens to tear the fragile stitching apart.
The Landgrab, 2026
Designed to be viewed along with ‘The Wrong Side’, this work is also based on the map of 1840’s pastoral settlement and uses some similar materials and techniques. ‘The Landgrab’, however, focuses on a smaller number of land parcels, those ‘taken up’ (or more correctly taken) around this southern part of DjaDja Wurrung Country. You are invited to gently ‘grab’ your own piece of land to feel the wool, the fine organza, and the scars.
The Woolprice, 2026
Like my other works in this exhibition, ‘The Woolprice’ presents an aspect of colonial history. In the two very different worlds that existed here during the pastoral invasion, the natural grasses were no match for the wealth brought by wool.
The Land is My Blanket, 2026
I painted this pastoral scene about 45 years ago when I first moved to Central Victoria. I remember standing in the flat open country of my friends’ sheep farm, taking in the mauve hills and the ribbon of trees that I now know are Serpentine Creek, and deciding to curve the horizon to create a dome of sky. I painted landscapes to express my love for the land then, but now I want to express the feeling of being in it rather than its visual beauty. I have taken this canvas off its stretchers and stitched it as a textile, turning it into something touchable, both familiar and strange.
