Over the past decade, Brian Connolly has become a prominent name in the Australian arts scene, recognised for his murals and captivating bespoke pieces. Recently returned from a three-year stint in Sydney’s Darlinghurst, the artist is savouring the peace and beauty of being back in nature.
WRITTEN BY DONNA RISHTON-POTTER
Connolly’s studio, a cosy bungalow with French doors that open to sweeping valley views and the distant ocean, is set within an idyllic landscape alive with bearded dragons and butterflies. Here, under an open sky, he weaves the lush, saturated blues and greens of his surroundings into each work. His canvases bloom with flowers and haunting faces appear. “Are they self-portraits?” I muse. “Possibly,” he smiles.
Connolly first made waves with a commission by famed hairstylist Jay Edwards for his iconic Edwards & Co. salons. Since then, his large-scale murals have adorned some of the country’s most prestigious spaces. From high-end restaurants and hotels to shopping malls and private residences, Connolly’s symbolic and emotionally resonant style has left a lasting impression, with high-profile projects at places like The Calile Hotel and Sydney’s Mecca Cosmetics flagship store. His ethereal designs have even found their way onto Husk Distilleries’ gin bottles.
At the core of Connolly’s work is an organic connection to nature. His vibrant murals, marked by fluid, floral motifs, act as a bridge between indoor spaces and the world outside, inviting viewers to consider themes of growth, transformation and the interconnectedness of all life. Connolly’s approach is intuitive and free-flowing, guided by an inner vision that allows his creativity to unfold naturally. His signature style, rich in blues and greens, reflects themes of evolution and delicate beauty, lending each mural a soft, ethereal quality as if nature itself is taking root within the urban landscape.
Recently, Connolly’s work has been shaped by personal loss. The passing of his dear friend, Tessa, left a profound mark, and in his studio, the butterflies in his garden have become poignant symbols of her presence. They find their way into his work as a tribute to her memory. “They’re like reminders that she’s still here,” he reflects. This journey through grief has shaped his recent collection, imbuing each piece with a raw, emotional quality that offers his audience a glimpse into his personal healing.
After a sabbatical in Bali, a place he considers his spiritual home, Connolly returned with a renewed vision. “Spending time in another culture reshapes your perspective,” he shares, appreciative of Bali’s karmic approach to life. “It brings you back to something good, something that’s in us all.” Bali’s peaceful Hindu practices and slower pace allow him to tap into creativity away from materialism and closer to inner peace. “I feel an expansion after I’ve been there, less urgency,” he reflects. “Sometimes stepping away from the day-to-day busyness is necessary; it lets you sink into your creativity.”
Back home in the Northern Rivers, Connolly is reinspired, his studio now filled with drying ceramic pieces awaiting glaze. Venturing into ceramics and exploring new, nature-inspired designs on wearable art has given him a fresh sense of possibility. “Branching into a 3D medium is refreshing and exciting,” he says, explaining how this exploration has revitalised his creative energy. After his recent collection’s themes of grief, this new direction feels liberating, allowing him to reimagine his creative boundaries.
For Connolly, art has been a saving grace, offering him both an anchor and a path to healing. In a world where everyone carries their own challenges, he believes that art has the power to disarm, to connect and to heal. “Art has a way of transcending, of becoming something we all need,” he reflects. Through his work, Connolly hopes to share that gift with others, reminding us of the beauty in transformation and the quiet peace that both nature and art can bring.
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