Daniel Browning, a renowned art critic and presenter of Radio National’s The Art Show, is known for his knack in spotting emerging visual art talents in Australia. During a visit to UNSW’s School of Art and Design in 2015, Browning stumbled upon a small collection of photo transfer paintings created by Japanese-born artist Miho Watanabe. The paintings, which featured a watch, a necktie, and a pearl ring, caught Browning’s attention not only because of their interesting technique but also because they resonated with his own state of mind at the time.
According to Browning, Watanabe’s work delved into the intricate relationship between perception and reality, creating a diaphanous space that intrigued him. Additionally, the images contained a sense of wistfulness and sadness that powerfully conveyed the theme of loss, something Browning himself was experiencing. Instantly captivated, Browning asked his faculty-member friend to help him connect with Watanabe in order to acquire the paintings.
While Browning wasn’t necessarily searching for extraordinary talent, he was drawn to artwork that spoke to him on a deeper level. He sought something serene, mournful, and quiet that could drown out the noise of the world. The untitled paintings provided that solace. Browning describes them as having a lonely whisper, a tone that resonated with his own emotions.
Upon speaking with Watanabe, Browning discovered that the artist had also experienced a recent loss, adding another layer of significance to the paintings. In Japanese culture, the subjects of the paintings are known as “katami,” possessions infused with the energy of their previous owners. In a meta sense, Browning believes that the paintings now hold the energy of his own loss, becoming emblematic of something more than he initially anticipated.
Despite being a lifelong renter, Browning cherishes the presence of the paintings in his life. While they may not always be displayed on his walls, their significance remains. Merely having them nearby brings a sense of accepting relief, reminding Browning of the cyclical nature of life and the inseparability of the past and present. As a Bundjalung and Kullilli man, Browning feels a cultural resonance with the artwork, emphasizing the connectedness between the past and the present. He invokes Oodgeroo Noonuccal’s poem, “The Past,” to convey the idea that the past is ever-present and intertwined with the present.
In Browning’s view, the paintings are markers of the perpetual flow of life. They remind him that everything, whether happy or sad, is transient. Life’s experiences flow around the objects, which absorb and embody all of those stories.
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