Otomys is pleased to announce representation of Caroline Collom!
After recently meeting Caroline in London and again in the gallery in Melbourne, we had the opportunity to sit down and explore how her travels have influenced her latest body of work for Otomys, while also delving deeper into her artistic process.
Caroline Collom is an abstract artist whose practice delves into the multi-dimensional nature of painting. Inspired by her surroundings, she embarks on a visual journey, extracting abstract forms from their original context and isolating them within a space that cultivates a profound dialogue of form.
Caroline's artistic process uncovers hidden aspects of abstract imagery that may have otherwise gone unnoticed. Her paintings transcend conventional representation, granting abstract forms the freedom to exist independently and convey their own narratives. Through the interplay of shapes, colours, and textures, she creates a captivating visual language that beckons viewers to immerse themselves in the enigmatic beauty she portrays.
Caroline is a British artist who shares her time between the UK and Australia. She is currently based in Melbourne, Australia. Having studied a Bachelor of Fine Arts at the Victorian College of Arts, the second year of her degree was spent at Massachusetts College of Art, Boston, the experience being instrumental in developing her painting style. Since graduating, she has exhibited in solo and group shows in London, Lisbon, LA, Sydney, Brisbane and Melbourne and completed a residency at PADA in Portugal.
Her works reside in private collections in the USA, the UK, and Australia, including the JAHM collection in Melbourne.
View Available Work by Caroline Collom
As a British painter now living in Melbourne, with the past eight months spent living and traveling abroad, have any particular aspects of these diverse environments influenced or shaped your work for Otomys?
My surroundings always find their way into my studio, as I’m constantly observing and photographing both the architectural shapes and intricate details around me—the structures, the floor, walls, textures, and the way shadows move across buildings. This body of work was primarily driven by colour, inspired by my time in Italy and Portugal last June, where sunlight bathed painted walls in rich, vibrant hues. These walls became artworks in their own right, showcasing subtle repaints, layered blocks of colour, and beautiful imperfections. As I composed these pieces, I found myself cropping further into my imagery, creating larger, more defined shapes. I see this shift as a reflection of the confidence and growth I gained during my time abroad.
You have an eye for colour; the conversations between your neighbouring or overlapping tones are compelling. Some are quietly sophisticated whilst others are vibrant, uplifting and youthful. Can you describe your references for colour and your process of layering these into a composition?
Thank you! I’m so pleased that my use of colour is recognised at that level. Colour has a profound influence on me (as it does on many), and I strive to convey that through my work, inviting the viewer to observe subtle nuances in tone and the relationships between them. I print out my photographs and carefully isolate the colours I want to incorporate into a painting. It’s also not uncommon for me to sketch a rough composition beforehand, creating a loose plan to guide the process. This helps me stay mindful of how colours change through layering, working from the back to the front of the painting. My passion for colour is further reinforced by my use of oil paint and a deep respect for the integrity of each pigment I work with.
In the simplicity of your colour fields you gently balance stillness with movement, how do you achieve the subtle shifting vibration in some of your work?
There is a deep connection between me and the ground I am working with, solidified through the act of making—understanding where to layer the paint and how it interacts with the surface. Movement and materiality play a crucial role in this; by rubbing the paint on and on, the pigment grips certain areas more than others. The slow drying time of oil paint allows me to work with its evolving state, manipulating the surface over many hours to create subtle shifts and vibrations. A generous supply of mottler brushes certainly helps—though it’s an expensive habit! I spend just as much time cleaning brushes as I do painting—not the most enjoyable task, but an invaluable part of my process nonetheless.
You speak of your work 'isolating abstract forms from their original context to explore their independence', can you explain this in more detail?
Yes, through the processes I’ve described earlier, I find that the abstract forms in my paintings take on a life of their own, separate from their original context. As they interact with other shapes within the composition, they develop new relationships and meanings, forming a unique abstract language in each piece. This transformation encourages a fresh perspective on shape, space, and colour.
What is it about your art practice that you enjoy most?
It’s an absolute privilege to be an artist, and what I love most is the process of creating something out of nothing—inviting people into my abstracted world and allowing them to experience it in their own way.
March 12, 2025
