_{Cover Image: Caroline Christie-Coxon. Image Supplied.}

For more than three decades, interdisciplinary artist Caroline Christie-Coxon has maintained an enquiry into the relational conditions of existence. Her practice – spanning painting, photography, video, sculpture, and site-responsive land-body work – operates on a foundational principle: that experience precedes concept, observation precedes philosophy, and making precedes understanding. In her major solo exhibition, Circularity, opening at KAMILĖ GALLERY in Perth, Christie-Coxon brings painting and landscape into active relation, offering a meditation on process, ecological consciousness, and material transformation.

At the centre of the exhibition is the circle – conceived not as a static geometric emblem or a closed symbol of completion, but as a dynamic field of relation and evolving consciousness. Across Circularity, the motif functions as a conceptual device for thinking through non-linear systems where actions, materials, and physical forces continually circulate, transform, and return. The symbol operates as an engine of recurrence, where the past feeds into the present to shape the future.

In her studio practice, Christie-Coxon establishes specific physical parameters through which paint can evolve in collaboration with environmental circumstance. Rather than imposing a predetermined composition onto the canvas, she allows gravity, viscosity, evaporation, pressure, accumulation, and duration to participate directly in the work’s formation. “The work is neither controlled nor left to chance. It emerges through relationship,” the artist notes.

This methodology is articulated across two distinct painting series. In the Fluid Loop series, the circle is reduced to elemental contrasts of light and darkness, presence and absence, where strict procedural restriction creates visual intensity. Small variations in surface, edge, and material behaviour become consequential marks of process. In the Cracked Series, physical fracture underpins the enquiry. Here, cracking is not treated as material failure or structural defect, but as the physical registration of environmental tension. Pressure, instability, and time become permanently embedded in the dried paint surface, suggesting simultaneous states of vulnerability and resilience, rupture and renewal.

Parallel to the paintings, three site-responsive photographic works – the Ancient Moon diptych and Psyche – extend this investigation through light and perception. Documenting temporary encounters with the environment, these works observe what emerges through close attention to place, light, movement, and atmospheric conditions. By relinquishing a degree of authorial control to natural phenomena, Christie-Coxon connects her lens-based practice directly to her painting methodology.

Circularity arrives at an important juncture in the artist’s international trajectory, following the 2025 publication of Circle Culture – Caroline Christie Coxon, a 256-page monograph published by SKIRA Arte Milan. Her recent projects span both Europe and Australia, including Tender Is The Night in Nice (2024), Arte e Natura Vincono il Tempo at Villa Arconati, Milan (2025), Of Being at Galleria Sonne, Switzerland (2025–26), Art in Motion at The I.C.E. St Moritz (2026), and her selection as a finalist in the 2026 Northern Beaches Environmental Art & Design Prize for her video work Collapse in Yellow.

Throughout Circularity, opposing states – control and surrender, order and disruption, permanence and impermanence – coexist without artificial resolution. By holding space between these dualities, Christie-Coxon invites viewers to encounter material uncertainty and recognise relationship as the primary condition of living systems.

Circularity by Caroline Christie-Coxon is on from 30 October to 5 December 2026 at KAMILĖ GALLERY, 37 St Georges Terrace, Perth.