Ochre and Light was borne out of Breckon’s homesickness after she moved from Wellington, Aotearoa New Zealand to Derby, a remote town in the Kimberley region of north-western Australia.

The two places have vastly different cultural, environmental and social landscapes. Breckons hometown of Wellington is cupped by hills and ranges in all directions, valleys where steep terrain obscures the full breadth of the sky. In contrast, Derby is surrounded by expansive mudflats and tidal creeks, a network shaped by some of the world’s largest tidal movements. 

Within the first months of living in Derby, Breckon became acutely aware of how different it felt to live in a flat environment, compared to being situated beneath or within elevated terrain. Additionally, the region’s persistent hot climate felt unforgiving and triggered a longing for the cold winters and mountainous terrains found in New Zealand’s deep south. Breckon would retreat into this longing by daydreaming, imagining scenes of saturated fjords and dense forest undergrowth.

During this time, Breckon was managing the community collection and recording projects at Mowanjum Art and Culture Centre. She became interested in natural earth pigments after seeing the warm hues displayed in its Art Studio. Mowanjum-based artists were reviving the use of ochre in their artworks, which the studio sourced through a known Kimberley provider, art supply stores and in small quantities harvested during bush trips. The art centre also sold pigment in its store. Breckon’s education in ochre came from work experiences and conversations with Wandjina Wunggurr people between 2012 and 2021. 

In Ochre and Light, Breckon contemplates the places she calls home. The contrasting shapes and colours, and the dichotomy of being in one place while feeling the impressions of another. The artist combines digital and historic wet plate photography processes, and juxtaposes them alongside earth pigments either from or representing the colourscapes of two distant lands, the Kimberley and Aotearoa’s South Island.

In the context of this exhibition, the artist uses the word “ochre” to reference earth. Emphasising the natural colourscapes embedded in places of personal significance. Breckon acknowledges ochre’s deep-rooted and continuing significance in indigenous cultural practices worldwide. Beyond working with Wanjina Wunggurr people, Breckon has since engaged in community and international forums, including the Regional Assembly, discussing the integration of natural materials by settler artists alongside Asia Pacific First Nations artists and other respected speakers.

The natural pigments used in this series come from a number of sources:

Aotearoa New Zealand: ethically sourced kōkōwai (red ochre) from the Ngāi  Tahu region that was gifted to the artist.

The Kimberley, Western Australia: acquired with permission through Mowanjum Art and Culture Centre, externally sourced from Kimberley and national art suppliers. Breckon discussed the access and use of pigment in the context of her artworks with Ngarinyin and Worrorra elders and artists associated with the art centre. 

Breckon discusses her approach and reflections on Ochre and Light through Regional Arts Australia’s Regional Assembly program and podcast. https://regionalarts.com.au/resources/katie-breckonhttps://regionalarts.com.au/resources/katie-breckon