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Thursday, September 17, 2026

Nightshade

 

 

Nightshade, 2026, acrylic on canvas, 30 x 25 cm, is one of four paintings I worked on in between attending multiple sessions at the recent 2026 Melbourne International Film Festival. (Blog Post Wednesday, September 2).




The eyeglasses featured in Nightshade are based on a vintage pair acquired several years ago at a thrift shop for possible use as a work prop. I’m so pleased they survived my periodic declutterring purges and I finally found a purpose for them. (Also pictured above, third from top: my self-appointed supervisor, the redoubtable Alice B. Cat).



Along with its companion work, Sunshades (the focus of my next post), Nightshade takes its point of departure from the Alfred Hitchcock film, Strangers on Train (1951), which, in turn, was based on the eponymous novel by Patricia Highsmith


For decades, I’ve been intrigued by the film’s principal villainess, the ruthless adulteress, Miriam. She is one of two key supporting characters who wear glasses, an unusual - and, as a rule, decidedly non-glamorous - accessory not ordinarily associated with the Femme Fatale. As those familiar with Strangers on Train will be aware, however, glasses are a major plot point, and feature in one of its most iconic scenes. 



In the film, Miriam is played by Kasey Rogers (1925-2006). I’ve long been intrigued by her portrayal of a character who is at once sexy and repellent, coquettish and sleazy. It’s a terrifically nuanced, shamefully underrated performance.



I used to wonder why I hadn’t noticed her in anything else. As it later turned out, I had, without realising it. Rogers played the second Louise Tate, wife of Larry Tate, Darrin’s boss, in the hit TV series Bewitched from 1966 to 1972. (See below). 



Kasey Rogers has done much else besides. To learn more about her, go HERE.


As an aside, Marion Lorne, who memorably plays the scatty mother of the film’s chief villain, Bruno (an electrifying performance from the great Robert Walker), would also become a cast regular in Bewitched, as Samantha’s equally scatterbrained Aunt Clara. But I digress.


Nightshade is part of the current series, Flowers of the Femmes Fatales. The flower adorning my protagonist’s raven hair is a devil's trumpet, also known as  jimsonweed or thornapple, a poisonous plant from the Daturae tribe of the nightshade family Solanaceae.





Thursday, September 3, 2026

Vale Gloria Steinem


There have been too many losses recently, of people who truly made a difference. And now this…


These are just some of many photos I took at Melbourne Town Hall on 16 May 2016, when Gloria Steinem appeared there in conversation with Melbourne journalist, Virginia Trioli. The hall was packed to the rafters, but by an extraordinary stroke of luck, I found myself in front row centre, the best seat in the house. It was an evening I will never forget. 










Gloria Steinem fought ceaselessly for issues relating to equality, laying the foundations for countless lives that would otherwise be half-lived, at best. Knowing how easily it could all be taken away, she never stopped fighting. I can’t imagine this world without her. As I write this, her website hasn’t yet recorded her passing. I’m tempted to spend the day there in happy denial, imagining a world in which she is still physically present. 


Our debt to her is incalculable - she made so much possible for so many. May her spirit live on in all of us.


Rest in Power, Gloria Steinem.


My original blog post is here:

https://deborahklein.blogspot.com/2016/12/gloria-steinem.html?m=

Wednesday, September 2, 2026

2026 Melbourne International Film Festival and MIFF adjacent works


Recently I attended the 2026 Melbourne International Film Festival, which ran from 6-23 August. It was the first time in several years that I’ve been a Festival Passport holder. (If memory serves me correctly, the last time was in 2019)

Pictured 1-3 from top:

The Capitol Theatre, Melbourne 

Kino Cinema, Melbourne 

The Astor Cinema, Prahran 


Seven years and two bouts of breast cancer later, I wasn’t entirely convinced I was up to it anymore, and numerous times in the lead-up to MIFF 2026, nearly downgraded to a mini-pass. By the time I’d finished dithering around, it was too late. At that stage all I could do - aside from flushing $700 down the drain - was to go for it. 


The MIFF Box Office staff at ACMI, where I booked the majority of my sessions, couldn’t have been more helpful and understanding. The neuropathy in my feet (a permanent after-effect of the BC) can sometimes undermine my sense of balance. In every case, they were able to reserve me ideally located seats, so I never once felt in danger of taking an undignified tumble.


My energy levels have risen considerably over the past few months. Nevertheless, I limited my sessions to times that mainly finished in the early evening. By the time I’d added and subtracted a few films along the way, at last count, I saw 41.


The Māori Victorian gothic horror film Mārama was another festival 

favourite. Lead cast member Ariāna Osborne, who gave a 

performance of astonishing power, was a guest of the festival.  

She is pictured here during the post-screening Q&A.


It took a few days to get into the rhythm of MIFF. By the festival’s end, however, I could easily have kept on going. This year’s MIFF was a crucial test and an important learning experience. I was convinced this would be my last MIFF as a Festival Passport holder and was surprised and delighted to have been proven wrong. Not only did I get through it with relative ease, which did wonders for my confidence, but from a personal point of view, it was also the finest MIFF in years - even better than that magical time in 2019, or in 2024, when, as a mini-pass holder, I first saw Flow


Knowing that MIFF would present a huge disruption to my work flow, I roughed out four more paintings in the current Flowers of the Femmes Fatales series so I could also maintain that particular rhythm. I knew from experience it would be far easier to pick up where I left off post-MIFF if I wasn’t faced with a proverbial white canvas. 



In the end, I concentrated most of my energies on two out of the four. As of today, they are pretty much done. Above and below are progress views of the provisionally titled works Girls Who Wear Glasses”.





In the next few weeks (or however long it takes), I’ll work towards resolving the remaining two. 


A few people have asked me if I gleaned inspiration from any of this year’s MIFF films. It will take awhile longer to process all that I saw, but even at this early stage, the answer is yes. The seed of an idea is already sprouting from the documentary Kim Novak’s Vertigo. The seed took further root from the post-screening Q&A with its director, Alexandre O. Philippe (pictured below). I will elaborate on this in a future  post - providing I can move the idea from my head, knock it into some kind of shape and transfer it to canvas.


Alfred Hitchcock’s Vertigo was a key reference for several of my earlier works, including this one, so Alexandre O. Philippe‘s superb documentary was of particular interest to me.

Ironically, the “Girls Who Wear Glasses” paintings featured in this post were inspired by two characters in another Hitchcock film, Strangers on a Train,1951. I will expand on this shortly.

I’ve also been asked if I have a favourite MIFF film. There were several, but the one that most deeply touched my heart was the documentary The Cycle of Love


Thank you, MIFF and goodbye until next year.




Monday, August 24, 2026

Collectors Edition: Timeless Prints

Two of my linocuts, including Sunflower, 2024, have been selected for the exhibition Collectors Edition: Timeless Prints at ART & COLLECTORS.

Artists include: Adam Cullen, Alethea Richter, Bill Henson, Brett Whiteley, Bridget Riley, Charles Blackman, Chris Lawry, Clayton Tremlett, Cressida Campbell, Damon Kowarsky, David Larwill, Deborah Klein, Elizabeth Banfield, Elk, Ellie Malin, Eric Thake, Garry Shead, George Baldessin, George Gittoes, Guan Wei, Hannah Caprice, Hiroshi Kobayashi, Howard Arkley, Hyunju Kim, James Farrar, Jeffrey Makin, Jenny Kitchener, Jenny Peterson, Jessi Wong, Jim Pavlidis, Joel Wolter, John Coburn, John Olsen, John Perceval, Katherine Hattam, Laura Castell, Lin Onus, Louise Terranova, Maggie Stein, Marion Manifold, Martin King, Martin Sharp, Michael Leunig, Nicole Henry, Odin Strbac Low, Paul Compton, Philippe Le Miere, Rachel Dun, Rachel Newling, Reg Mombassa, Robert Jacks, Rona Green, Sally Mumford, Shepard Fairey, Sophie Zelder, Stephen Glover, Susan Baran, Tim Storrier, Vivienne Adeney, and Warren Cooke


Opening Event: 2pm - 4pm, Saturday August 29


Collectors Edition: Timeless Prints

ART & COLLECTORS

Level 1/165 Gertrude Street I

Fitzroy VIC 3065


Opening Hours:

Monday - Saturday, 10 am - 4 pm

Or by Appointment 


Collectors Edition: Timeless Prints continues through to September 24, 2026.

Sunday, August 16, 2026

INTERIOR Part 2: Opening Night



Pictured above: Secret Garden ll, 2024, acrylic on canvas panel, the second of my two paintings currently on view in the group exhibition, INTERIOR at One Star Gallery, Melbourne. 


A woman is often compared to a set of rooms in a house where all doors open, where those who need access to her can freely do so. Yet deep in the house lies one room, the secret room where only she will enter. Deborah's work invites you to ponder on that idea of the secret part of that hidden room.


—   Wendy Stavrianos 


During the lockdowns I first discovered the existence of British Arts & Crafts designer and artisan May Morris (1862-1938), the younger daughter of William and Jane Morris. In the following months, motifs and patterns gleaned from her extraordinary wallpaper, textile and embroidery designs began to infiltrate my own work. 


My paintings in INTERIOR are additionally informed by her friend Charlotte Perkins Gilman’s seminal short story, The Yellow Wallpaper (1892). The story’s protagonist, a woman isolated in a barred room while undergoing an enforced “rest cure”, becomes fixated on freeing a woman who is apparently caught behind the wallpaper, and subsequently (as her grip on reality becomes even more tenuous), other women who are trapped there.


INTERIOR officially opened on Friday, 14th August. The following views were snapped during the opening celebration.




Above: Installation view. Left (from top): works by Nora Sumberg and Shane Jones. Centre (from top): works by Deborah Klein, Ann Holt and Victoria Hartcup. Right (from top): works by Lewis Miller and Victoria Hartcup.


Above and below: the opening night crowd. On the far right, above, is INTERIOR artist Michael Vale with his dog Horace.


Above, L-R: artists Shane Jones, Deborah Klein and Ann Holt in front of our works. Photographer: Victoria Hartcup, whose own work hangs directly above Ann.


INTERIOR

One Star Gallery

301 - 303 Victoria Street

West Melbourne VIC 3002


EXHIBITION DATES: Thursday 13th - Sunday 30th August


Closing Drinks:  Sunday August 30th, 3-5pm


INTERIOR was curated by Mariella Del Conte and Katy Beale. Scroll down to my previous post for further information, including a complete list of artists.