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Symbolism, an art movement of the late nineteenth-century, had its origins in France, Russia & Belgian. Artists of the movement created expressions in order to orientate more deeply with the symbolism of nature. In contrast to this, the current world of Postmodernism has held an ambiguous philosophy in our modern lives. On the one hand it presents an exciting period of philosophy and art but, on the other, a lens of distorted inner values. In order to sustain our own individual essences Fiona Craig asserts that by being aware of this obscured perspective, we are more able to reconnect within.

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When observing the world, we unconsciously orientate with nature because the naturally formed shapes surround us we are symbiotically a part of them. As an artist, Fiona Craig maintains that man's interest in styles of art bring us to compare art forms. She suggests that the world's prolonged interest in Postmodernism is because it suits global commercial trade. Postmodernism is a movement of art that has not only taken us into a world of a questioning intellectual ‘reality’ but it includes a narrative that blurs the distinction between truth and untruths.


Fiction and non-fiction are the same in postmodernism and economic power makes hay in its production and exploits.  Fiona Craig maintains that man is viewing through the postmodernism lens and a true value in life is impaired. In reaction to this  more and more people are identifying with ancient indigenous values as well as other levels of awareness. These values have existed in man’s psyche for thousands of years and Fiona Craig believes that the values taken from symbolist principles have stirred up the foundational origins of Indiginism. As this concept has emerged it has enabled us to recognise our own awareness and turn away from depreciative areas of Postmodernism.

One of the countless examples of world symbols is the parabola. Its up-side-down U shape can define a sublime images in nature such as: - mountains, a rainbow, trees and clouds. This geometric shape is also defined in physical structures such as an archway or gate; the visual metaphor that defines entry or exit. The “Golden Arches” are two parabolas shaping the letter m. We are trained to recognise such imagery, and, when painted bright yellow the modernistic symbol becomes a means to satisfy our hunger and aid our thirst with stimulant beverages. The image is highly visual on roadsides, day or night, and the principles of classical conditioning are already in play; the psychological method of marketing akin to Pavlovian animal training. 


Countless powerful forms, such as the pyramid, are symbolically represented by the controversial illuminati 2D image. Animals such as the eagle or lion; the 'swoosh' Nike icon are to name but a few. They are the symbols in the minds of men who have, for thousands of years, identified with much older, wiser and purer inner representations. Similar to that of the Symbolists, of the late nineteenth-century, Fiona Craig maintains that it’s all too easy for our thinking to become confused with modernistic merchandising that assumes ownership of our constructed thoughts through trademarks. People attempt to reverse the process of trading symbology with naturally beautiful imaging but, unfortunately, some populations fully identify with commercial imaging as truths. Proof of this can be repeatedly witnessed in the buying and wearing of clothing bearing logos so systems of identification are worn, or adorned by the masses in this manner. Fiona Craig creates her art in natural forms and mythological archetypes in a style of neosymbolism in order to remind us of our origins and to reinstate that we don't need to identify with trademarks to prove our worth. She paints the rising and setting of the sun, the moon and sacred geometrical forms.

​Fiona Craig studied art in schools and colleges, both in the UK and Australia and gained bachelor qualifications for education and philosophy in two Australian universities. Through continuous painting and teaching in Australian schools, she became familiar with the ancient mythologies of the indigenous people there. Through visual arts, narrative and physical movement she learned about the belief of Australian aboriginal people. About the evolution of their universe by dance, story telling expressions and symbol markings scratched in the dusty red earth.



Similar to many other ancient indigenous cultures the aboriginal symbols represent many natural concepts, but, essentially revealing the awe of the dreamtime. Their belief exists between the heavens and the earth and when arriving in Spain Fiona Craig perceived the tall structures of Barcelona and, again, was reminded of the aboriginal legends. Her artworks became expressions of the earth and the sky, an absorption of the relationship between the sacred geometrical symbology, found in both built and natural environments. As like many other artists of nature, Fiona Craig presents natural events and images in order to bring them to the mind of matter and natural symbolism. She believes that in whichever language, religion or spiritual connection a person may hold, natural symbologies remain deep within each of us. The still and balanced centre of our being.



Fiona Craig has exhibited in the UK, Australia and Spain and paints from her studio in Palma de Mallorca.

Rainbow cloud hill_No BAckground
Four Women_No BAckground
Men Meting Place_No BAckground
Resting place_No BAckground
waterholes connected by running water_No BAckground
Travelling sign with resting place_No BAckground
Fire, Smoke or Water_No BAckground
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running water, lightning, a snake_No BAckground
Camp site Well  Rock hole Fruit_No BAckground