In our limited understanding of our world and its workings, there is a yawning gap of knowledge and nothing to fill it.

Despite being grounded in a similar sense of awe of the great mysteries of our existence, science and spirituality are at odds with one another. The scientific story speaks to our rationalism, but is devoid of meaning. The religious story speaks to our intuition, but denies the facts.

But there is an emerging vision of science that places life in an overall process of great complexity on our planet and in the cosmos with an inherent interconnectedness. Our minds and consciousness are part of this harmony and web of life.

After all, in the end, (and in the beginning), we are the stuff of stars.


Catherine Nelson is an Australian artist, living in Belgium and the Netherlands,  who uses digital technology as her paintbrush creating landscape ‘paintings’ and animations.


After completing her art education in painting at the College of Fine Arts in Sydney Catherine quickly moved into the world of film and television. She created visual effects for films such as Moulin Rouge, Harry Potter, 300 and Australia. Her job as a visual effects artist has taken her around the world having lived in Milan, London, Rome, Reykjavik, Bratislava, Brussels and Australia. In 2008 she started her own art studio in Gent and Amsterdam and has since dedicated her time fully to creating her own art.


When I embraced the medium of photography, I felt that taking a picture that represented only what was within the frame of the lens wasn't expressing my personal and inner experience of the world around me. With the eye and training of a painter and with years of experience in film visual effects behind me, I began to take my photos to another level.


 In 2010 she launched her series ‘Future Memories’ followed by ‘Nuit Americaine’ (2011), ‘Danube’ (2012) and ‘Other Worlds’ (2013) This work was exhibited in Australia, Europe, America and Asia. Her next series ‘Expedition’ (2014) took a more personal, nostalgic turn focusing on her childhood growing up in Sydney and is about memory and the way memory distorts. For the following 3 series,  she has taken her camera underwater creating three new bodies of work: Origins (2014) , Unstill Life (2015) and Submerged (2015) Lately, her attention has moved back to animation. In 2016 she created Supernova which is sourced from the living plant collection of the Belgian National Botanical Gardens with a focus on rare and endangered plants.


Exhibiting CV