Ethereal, mystical, sometimes haunting and disturbing, Kim Nelson's artwork explores a range of aesthetics. It is a refined alchemy of sensuality and spirituality.

Having embarked on a career in fine art in 1996 he is part of an emerging array of new artists making their mark on the art world both nationally and internationally. He has completed work for UNICEF, been commissioned by media mogul Rupert Murdoch and deemed a "good investment" by Australian investment entrepreneur and art collector, the late Rene Rivkin. His work can be found gracing the walls of such headquarters as News Corp., New York and the Australia High Commission in London .

Nelson was born in the Australian east coast town of Kiama , the fifth child of farming parents. He has literally drawn from the moment he could hold a pencil. His uncle is the renowned Australian landscape artist Leonard Long, though if the truth be known, their artistic connection stops there. " I was already way down the creative road before I had much comprehension of my famous uncle. I didn't really get to know him until I was thirty. Very different aims, different inspirations ."

Upon finishing high school Nelson attended live drawing classes for twelve months at the Julian Ashton Art School in Sydney , a studio with a reputation for its application to drawing. "....drawing is elementary to me and fundamental in the development of any artwork. It was the first form of art I did as a child and I find the act of drawing is still the purest and most direct form of expression. "

Nelson embarked upon a ten year career in graphic design and advertising (concurrent with a career in contemporary music) followed by another eight years as a manager/curator of museums and galleries, primarily for the National Trust of Australia.

In 1996 he realized his dream of a fulltime career in fine art.

Though his work can be quite diverse he identifies most strongly with symbolism and the spiritual, drawing much inspiration from the great works of the past. "I seek not to emulate the styles and techniques of the past, but to reinterpret and develop them in the present and for the future."

2006