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Foot prints_No BAckground

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 more contemporary world of Postmodernism has developed into an ambiguous philosophy. On the one hand its current cause holds an exciting period of philosophy in art but, on the other, a lens of ugly distorted inner values. In order to sustain our own individual essence Fiona Craig asserts that, by being aware of a obscured perspective, we are more able to reconnect within.

rain_No BAckgrojund
Man_No BAckground

When observing the world, we unconsciously orientate with nature because it's the source of original shaping. We are symbiotically connected. Fiona Craig maintains that man's interest in art brings us to relate more naturally to art forms that are authentic in their origin. In contrast to this modality, she maintains that world trade and its prolonged interest in Postmodernism is because it suits global merchandising. Postmodernism is a movement that has not only taken us into a world of a questioning intellectual ‘reality’ but its commercial narrative blurs the distinction between truth and untruths.


Fiction and non-fiction are the same in postmodernistic terms and economic power makes hay in its production and exploits.  Fiona Craig maintains that modern man is viewing his life through this postmodernistic lens and our true values in life are impaired. In reaction to this more and more people are identifying with ancient indigenous values, the worth of nature and its authenticity. These concepts have existed in man’s psyche for thousands of years and Fiona Craig maintains that man is turning away from the depreciating areas of Postmodernism and identifying with values closer to that of  symbolist principles. The origins of Indiginism have been stirred, enabling us to recognise our own inner-awareness.

From the world of countless symbols and logos, one example of shape is the geometric parabola. Its up-side-down U form 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, night or day, and the principles of classical conditioning are already in play; the psychological method of marketing used is actually more akin to Pavlovian animal training!


​Countless powerful forms, such as the pyramid, are symbolically represented by controversial imageries such as the Illuminati 2D image. Animals, for example, the eagle, lion, the 'swoosh' Nike icon are to name but a few. They are  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. It assumes ownership of our thoughts through trademarks because, all too often, it works. 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, in this manner, codes of identification are worn, or adorned by the masses. Fiona Craig creates her art using natural forms and mythological archetypes in a style of neosymbolism. This is 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 staus in education and studied philosophy in two New South Wales universities. Through continuous painting and teaching in Australian schools, she became familiar with the ancient mythologies of the indigenous people. Through the visual arts, narrative and dance she learned about the ancestral 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 indigenous symbologies of our own region of the world, remain deep within.


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

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