LOVE FROM THE STUDIO
A series of stories bringing you behind the scenes of Arts Project Australia.
LATEST INTERVIEWS AND ARTICLES
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Sim Luttin speaks about bringing an exhibition to life on Vision Australia Radio
"There's a lot of context and nuance being pulled through these works." Arts Project Australia's gallery manager and curator Sim Luttin recently spoke with host Chris Thompson on Vision Australia Radio about the current showing at the APA gallery: Material World. Listen from 23:30-37:00 to learn more about the process of putting on an exhibition at APA, and the approach to bringing the art of APA to the public. Material World is on show through July and August 2021, with a virtual iteration available online. The tactile multi-dimensionality of this exhibition references personal worlds created in response to physical surroundings. The artistic practices and works displayed testify to the movement between – and stark transition from – idea and concept to visceral threads and textiles to represent corporal curiosity, sexual politics, the home, possessions, consumerism, and the imaginary world. Featuring Fulli Andrinopoulos, Dorothy Berry, Matthew Gove, Bronwyn Hack, Adrian Lazzaro, Anne Lynch, Mark Smith, Lisa Reid, Rosie O’Brien, Chris O’Brien, Lisa Reid, and Terry Williams. Co-curated by Peter Douglas and Jodie Kipps. Love from the Studio is a series of interviews and articles bringing you behind the scenes of Arts Project Australia. Arts Project Australia's gallery manager and curator Sim Luttin was interviewed by host Chris Thompson on Vision Australia Radio. This interview podcast was originally published by Vision Australia Radio.
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Material World Curatorial Insights | JOYFM
"Arts Project Australia is the artists' space, it is there to explore who they are." Listen to Jodie Kipps, co-curator with Peter Douglas of Material World, on JOYFM'S Sunday Arts Magazine. Kipps speaks on her background in visual arts and arts therapy, which led to her ongoing connection with Arts Project Australia. She shares how the exhibition emerged from the excitement of seeing the work and artistic development coming from the artists participating in the studio's 'extended practice program,' which she facilitates with Douglas. Together, the two staff artists leapt on the opportunity to showcase the works in an exhibition, which is currently online as well as in the gallery until 22 August 2021. The episode also features Kipps' reflection and unique insights into the artists' practices. Listen now. The exhibition features work by Mark Smith, Adrian Lazzaro, Bronwyn Hack, Rosie O’Brien, Lisa Reid, Chris O’Brien, Fulli Andrinopoulos, Anne Lynch, Dorothy Berry, Matthew Gove and Terry Williams. Photograph | Natalie Jurrjens
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Samraing Chea’s Mystery of Subject and Power of Enigma
4 x 4 drew to a close this past Sunday, concluding the solos of four of APA’s prolific studio artists. To round out the story of the show, APA spoke with both studio manager James McDonald and Samraing Chea about the undercurrents of Chea's practice. Although presenting the most figurative work in the show, against the abstracts of Monica Lazzari and Rebecca Scibilia, as well as James MacSporran’s graffiti style, Chea's work is perhaps the most elusive of the group. SAMRAING CHEA AT THE OPENING OF HIS SOLO EXHIBITION ‘SMALL UNIVERSE’ AT READINGROOM. The practice of Samraing Chea (b 1995, Cambodia), an emerging artist working with greylead and colour pencil on paper, contains humorous and startling social commentary and an uncanny ability to extract the irony and idiosyncrasies of his subject. He held his first solo at Reading Room in 2018 and has shown in various group exhibitions including Outsider Art Fair, New York; Spring 1883, Sydney and Melbourne; and Melbourne Art Fair. His work is held in private collections worldwide. “I have been coming to Arts Project for a long time,” comments Chea, “I like the people there. I am feeling really good, and I like it when I sell my work to people.” Chea joined the Arts Project Studio in 2011, and over the last decade has developed a recognisable oeuvre. Chea's artistic growth has been observed by studio manager James McDonald, who comments, “While his choice of material has, for the most part, remained unchanged, his subject matter has become more eclectic over the years, and the density of his imagery has also increased, requiring from the viewer, an almost forensic, 'nose to the page' approach to looking at the work, so as not to miss the intricate details held within the small scale image plane.” Looking at Chea’s work, you sense the pressure of the pencil, and his time spent in physical proximity to the image created with dense and angular compositions of a usually small scale. He often incorporates not only the visual repetition of forms but the repetition of the subject itself, as well as thoughtful text reflecting back to the image. But the meticulous nature isn’t bound by excessive time spent on one image, with Chea saying, “It can take two to three weeks, or two to three days, it just depends.” McDonald also notices the detail taken to making his work and maintains, “Aside from its visual appeal, the glorious complementary colour palette and beautifully executed drawing, the ambiguity of much of the visual information he employs can generate robust discussion amongst viewers around meaning and intent. This quality of the work is what provides sustained interest.” Not only duteously created, Chea’s work has incredible narrative focus. “I like my work to have a fantasy look to it, and to be very specific.” Themes abound, taken from comics, cartoons and anima, or movies and TV. This includes recent work reflecting on 1980s films Moonstruck and Diner or recent drawing a ‘big bird’ statue from an episode of Shawn the Sheep. Chea’s work often celebrates the industrial age and the concept of working for a living. The artist almost imbues a hero status to ‘big rigs’, skyscrapers and steam trains. His ‘inventory' pictures remind McDonald of the American artist, George Widener, who, like Chea, collates and collects imagery in his work and also includes text for further explanation to the visual clues . But then, according to McDonald, some pictures also feel like pages ripped out of a graphic novel so loaded with detail that the audience feel like they've dropped in to an important exchange between two people involved in the minutiae of everyday life. On Chea’s research process, James McDonald continues, “Chea is never without the laptop computer that is a key piece of equipment in his process. He spends time researching and collecting ideas from the internet, seeking out Anime, cartoons, films, YouTube clips that inspire him. He is also a gamer, and elements of this form of computer graphics, and the facility for absorption that is synonymous with this pastime, are strongly evident in Chea's work.” The connection between these images and stories might seem enigmatic to the viewer, at first. “Chea's work has the uncanny ability to turn us all into clue collectors and riddle solvers,” comments McDonald, “I think for the most part though what you see is what you get. We are looking at work made by a young artist who is observing, participating and articulating what he finds most intriguing and stimulating about the world.” But Chea offers a through-line, however vague, “I like to draw elements and forces in my pictures, that’s what my work is about.” Mysterious but forthright, Chea provides powerful hooks that draw the eye without ever giving too much away. Love from the Studio is a series of interviews and articles bringing you behind the scenes of Arts Project Australia. Studio manager James McDonald was interviewed by Arts Project Australia’s communications co-ordinator Tahney Fosdike, and Samraing Chea by James McDonald.
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Who’s Afraid of Public Space? Think Tank #3 – Visibility and Accessibility
Listen now to the third conversation in ACCA's Think Tank series as part of the forthcoming exhibition Who’s Afraid of Public Space? ACCA (Australian Centre for Contemporary Art) · Who’s Afraid of Public Space? Think Tank #3 – Visibility and Accessibility Presented in partnership with Art Projects Australia (APA), this session was moderated by ACCA’s Public Programs Coordinator Bianca Winataputri and include contributors Dewi Cooke, Eleanor Jackson, Sim Luttin, Michael Camakaris and Ed Service. ACCA is pleased to co-host further Think Tanks over the coming year to consider a wide array of considerations pertinent to the exhibition and the work of our partner organisations and co-hosts. The Think Tank discussions will continue to feed into the critical concerns of the overarching Who’s Afraid of Public Space? project, contributing to a polyphonic and polycentric understanding of our increasingly complex public realm.
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On and off the street: James MacSporran talks about his ever-developing art practice
Watch, listen or read this enlightening conversation with Arts Project Australia artist James MacSporran discussing the influence of Melbourne street art on his style and the ever-developing nature of his practice while also reflecting on his current solo exhibition. James MacSporran is an emerging artist working primarily in painting and drawing on paper and canvas. Stylistically, his art practice embodies a blend of abstraction and graffiti, which result in colourful artworks emerging from his imagination. His work often synthesises text and abstraction, conjures references to mazes, street art, and old-style arcade games. MacSporran has been featured in group exhibitions in Australia and Hong Kong. His solo 4 x 4 Artist Solos - where he exhibits alongside Monica Lazarri, Samraing Chea and Rebecca Scibilia - displays a series of canvas works arranged against a mural created on the gallery wall. 4 x 4 is currently available as a virtual exhibition online, and of course, in the gallery once restriction lift in Melbourne (this Friday 18 July) with extended dates until Sunday 4 July 2021. read James MacSporran conversation transcript* below Tahney: The first thing I wanted to ask you is about the mural you created in the gallery over three days – of which we’ve got a time-lapse on APA’s Instagram. Last year, you did a similar public installation in South Yarra on Chapel Street. How do you approach this work compared to something on canvas? You have more to-and-fro for a public installation. How do you envision the final piece, and what is it like to fully immerse yourself for a couple of days? James MacSporran: Sometimes I’ve got three days, sometimes I have a week. The three days worked well because, unlike what I did in Chapel Street, there weren’t many constraints like pedestrians manoeuvring around me. I had done another mural once in Merri Creek, and that had a strict time as well. When I come up with a design, it’s generally something I’ve tried or done before that I follow or, if I find another technique, I’ll use it. So, for example, I like working in sections of layers like the recent one or the mural where someone had laid down a previous colour, so I worked with that colour in the background using predominantly purple colours that went well. As far design, every now and then, I might look at something and think, “Well, that doesn’t go with that,” and I’ll try maybe try something else. Generally, it’s sometimes hit and miss. Sometimes, I know exactly where I’m going, so it was good to experiment with the two recent ones. The first one was sort of more of that. It was a graphscape, which is like a landscape. The main difference with this one is I’ve stepped away from the landscape part and mainly concentrated on the graph. Tahney: As you’re creating a mural, do you feel a rhythm and ease, or is it an experimentation, more like jig-sawing and trying to work out the end result? James MacSporran: It makes me feel pleased to have been able to do it. It was good doing Chapel Street, but this one was right near the shop where I like to go and close to the Arts Project studio. When I was at Chapel Street, there was all sort of people walking past and chatting. When I was at the gallery, people stopped to look at the work and say different things about it. They liked it, or some people might say, “Oh, that’s not my kind of style.” But there were many positive outcomes, so that was good because you’re never sure. Some people were making comments, and I realized they were saying something nice. What was so good about the three murals was that there was always interaction. The one in the park, which is the one near Merri Creek station, was altogether a different experience because that a lot of people were saying, “Well, I only got off the train to look at that.” Which made me pleased because they were saying if it wasn’t there, that probably wouldn’t have been drawn to the park. Tahney: Melbourne has a rich history and culture in the contemporary landscape in terms of public art and graffiti. You’re a Melbourne local. Growing up in Melbourne, what were your first encounters with street art, and, along the way in your art practice, who have met in that subculture of the art scene? James MacSporran: I have always been interested in it. I started with a lot of films; there was Beat Street and Body Rock, which was hard to get a hold of, that did inspire me. Then, sometime later down the track, I went to three exhibitions called Adrenaline, which were all big graffiti exhibitions. I enjoyed going, and I got to meet pretty much all the artists. I found out why they decided to start painting canvas because many other artists would say, “Well, no, you don’t paint a canvas because it’s not street or anything,” but they had obviously decided their art had a unique style. When I was going to Huntingdale Technical School, I met an artist who calls himself Murda, for whatever reason, and I was always asking questions. He was doing, a bit like me, more prototype graffiti where he’d had a background and then put an animation celllike on top, which produced a whole new kind of artwork. I had a great experience with Youth Affairs Council Victoria (VAYC) that really got me involved. I remember we had a trip away, and I was wondering where we were going. Someone said we have to bring these boards, so we packed up about 20 or 30 boards and took them to this nice park, and we were all spray painting designs on boards. They had it up at a big display, and it got windy, and it was blowing everything everywhere, and it just got to be really fun. They put three or four boxes of spray paint, and it was just people having a bit of fun. VAYC was good value and helped me a lot. I thought I was a bit older to be doing graffiti because most of these guys were really young, and I was already cracking on to 30. But at VAYC, I was really getting to know these guys, and I asked them why they were ‘riding,’ and I think the VAYC helped them because they were getting commissions. They had mural sites they were painting, and they were really busy doing their own style of artwork. A lot of them were getting ready for Adrenaline. It was nice to see a lot of the work around the public work sites. I think VAYC may or may not exist anymore, but this was between the 80s and 90s when I first started out. Around this time, I got onto my first job, which is screen printing which is really good other than the fact it really smelled really bad because of what they used to use in the ink. That helped me with my artwork because for a while that I almost completely stopped. Because I was working, I was able to afford a lot of the paints. Other than that, I just kept going. I’d buy some canvas and generally just do that. It was good to keep busy and make sure I was able to get some work. Tahney: You have a really rich history in abstract art, especially canvas works, but I’ve noticed you have a more figurative practice as well. There are two portraits currently online where there’s a bit of a washy yellow background embodying Pikachu and a man in a hat. James MacSporran: That came back because I started doing some zoom sessions, and suddenly there was all this other inspiration and other books that I liked reading that have been a big help. They give me a bit of inspiration for some designs as well. I’ve bought up quite a few recently, which is on my internet, oh well, actually, it was probably to do with an artist called skype he does this unique style a bit like me, and that helped as well because he did a lot of figurative rework which is good, so that was a lot of fun to try that. Tahney: That’s interesting because this show was initially scheduled for early last year, and these pieces on display now were originally part of that show. When you look at these works from over 12 months ago, how do you think your practice has evolved, especially over lockdown, as you were saying? James MacSporran: It will keep evolving. I look at some of the work in the exhibition, and what I’m doing now doesn’t look too different. For the exhibition piece with the building, I’ve got a few designs to look similar, but again it was just the shape and the style of just having a go with something. The one above that other train one was more prototype than anything. It was just saying, “Well, this is what this colour looks like,” or seeing how well it all goes together. I’ll just keep changing and evolving. Every time I was doing all the sessions, I kept on trying something, and I thought, well, that looks okay, so I’ll do that. I did a bit more figurative work; some looks very unlike what I’ve done before. I can’t wait for people to see it all. There’s quite a bit there. I almost loaded my car with all the work to bring in. Still, I think that would be the bigger difference because again, looking at what I’ve done there, I’ve got a few works that look similar. Still, again I don’t want to keep anything too similar. I want to keep it in a particular kind of style, so that’s why if you see in the big mural, it’s got what looks like flashes of colour; that was a technique I’d only just found out because I was just trying something else or something new. So it’s just worth it to give it a try and see how it goes definitely. Tahney: I love the expansiveness of your work. Obviously, there are a few things that tie them all together, especially in terms of colour, but the great thing is that your work knows no boundaries as you try different approaches. I guess that’s the wonderful thing about this installation is that you’re able to blend the new, which is this mural, with the older works. So, James, I think it’s a time for today. Hopefully, everyone will come and see this solo in the flesh soon. James MacSporran: I was pleased that quite a few of my works are doing well. I recently rediscovered a work I did a while ago, which I took it home and did a bit of work more to it and I’ve since found out that it’s now online , which made me feel really pleased. If I don’t do something with it, it may not go anywhere, so I did a few other colours and changed it slightly. It looks like a dragon with lettering joined. It was done in 2020. I improved it a bit. It’s always nice to go back to something and add something to it to change it up. *Edited for length and clarity. Love from the Studio is a series of interviews and articles bringing you behind the scenes of Arts Project Australia. James MacSporran was interviewed by Arts Project Australia’s communications co-ordinator Tahney Fosdike. Images by Janelle Low.
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3 artworks in 3 minutes: Monica Lazzari’s favourite pieces in her solo ‘4 x 4’
In the following video, APA artist Monica Lazzari talks about her colourful and energetic artwork. Watch the video or read the transcript below. 4 x 4 Artist Solos presents four different solos featuring Monica Lazzari, Rebecca Scibilia, James MacSporran and Samraing Chea, and shows online and at the Collingwood gallery until 27 June 2021 (please note the gallery is closed tentatively until Thursday 10 June as per COVID restrictions).While holding distinctive practices, their work collectively reflects the versatility of colour, imagination, narrative and pattern to speak on the energies of society and nuances of everyday life. Monica Lazzari creates complex abstract paintings and collage incorporating bold colour fields, bright saturated colours, dot technique, abstract shapes and geometric patterns. Vibrant and multi-layered, she employs a vast colour palette with the meticulous application of media. The works are active spaces, resonating with energy. The collection in 4 x 4 Artist Solos reflects Lazzari's recognisable colourful, flattened and densely rendered acrylic paintings. These familiar artworks sit alongside new works on paper, including Buildings, distinctive for its delicately applied pencil linework, negative space and perspective. While Lazarri's images pulse with life, the artist is a firm believer in audience reception. She says, "They say a picture is worth a thousand words. But a picture doesn’t talk to you- it takes you places. It can make you feel happy, it can make you feel scared, it can make you feel lost. It has that power. Whatever the viewer wants to feel when they look, it is what’s true. There is no right or wrong. When you look at a picture, it’s how you feel." Lazzari has been a regular studio artist at Arts Project Australia since 2006 and has been included in numerous group exhibitions, including Home, Arts Centre Melbourne and Now the heart is filled with gold as if it were a purse, curated by Glenn Barkley, Arts Project Australia Gallery, Melbourne. Her work is held in national and international private and corporate collections. 4 x 4 Artist Solos is Lazzari's first solo exhibition. Browse more of Monica Lazzari's artwork through Arts Project Australia's online stockroom. Monica Lazzari, Kaleidoscope, 2019, acrylic on paper, 70 x 50 cm, ML19-0006. Monica Lazzari: This is called The Kaleidoscope. The reason I have called it this is because as you look at it - well as I look at it- it reminds me of the toy when you turn it around and things get smaller, and all the circles get tinier and it gets tighter. So, it kind of looks like that to me, as you're turning the thing it goes in. I like the colours that I have used. I love how some of it has just this big yellow circle and then you got the blues and the rectangle then you've got a tiny square in the middle. Monica Lazzari, Not titled, 2020, acrylic on paper, 50 x 70 cm, ML20-0007. Monica Lazzari: This one I did with acrylics. It sort of reminds me of those hula hoops that you can spin around on your belly. I can't really do it but it's just like if somebody put a whole heap of them on the floor. That's what they would look like to me. So that's why I did it. But I haven't named it little hula hoops because I didn't want people to see those as hula hoops, I want them to see them the way they want to see them. Monica Lazzari, Buildings, 2020, greylead pencil; marker; paint pen; pencil on paper, 70 x 50 cm, ML20-0009. Monica Lazzari: This one is actually my favourite one in the show as it is not normally what I do. It reminds me of buildings, like its layer over layer. I love how some of the lines are crossing over and going under. I just think it's just so fascinating, I can't stop looking at it. I just love the colours on it. My uncle has actually bought it, so every time I go there I’ll get to see it. Love from the Studio is a series of interviews and articles bringing you behind the scenes of Arts Project Australia. Monica Lazzari was interviewed by Arts Project Australia’s communications co-ordinator Tahney Fosdike.
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Lisa Gorman on a Collaboration of Colour with Arts Project Australia
Over a year in the making, gorman and Arts Project Australia have come together to create a line showcasing the creative vibrancy inherent to both organisations. Eight Arts Project Australia artists feature in the APA x gorman collection now available for purchase: Georgia Szmerling, Rebecca Scibilia, Robin Warren, Julian Martin, Robyn Doherty, Anthony Romagnano, Robert Brown and Fiona Longhurst. To engage with APA beyond the collection, gorman founder and creative director Lisa Gorman invited emerging artist Eden Menta to work as a guest art director to produce Eden’s Project. New looks drop weekly encompassing clothing, homeware, kids, and jewellery, with a contextual lookbook that can be viewed here. With a strong focus on artist collaborations, gorman is an Australian fashion designer offering unique, colourful, fun and exclusive prints with local lifestyle and culture at the forefront. Lisa Gorman released the first gorman collection in 1999 and opened their first boutique in 2004 on Chapel Street in Prahran. Almost two decades later, it is easy to spot the iconic brand out and about: a gorman wearer in a vibrant design appears buoyant against Melbourne's grey landscape. Gorman's optimistic energy marries effortlessly Arts Project Australia's bold and daring artists, whose textile and jewellery-adapted work now stand front and centre across gorman's 40 stores across Australia and online. In the following interview, Lisa Gorman talks about the process of coming together and the resulting creative collaboration between Arts Project Australia and gorman. Lisa Gorman chats ABOUT APA x GORMAN the story behind the collection What attracted gorman to work with Arts Project Australia? Lisa Gorman: Over a year ago, a long time staff member and ‘collaboration curator’ on the gorman design team, Kayla, visited the APA gallery that was then based in Northcote. Kayla returned raving about the breadth and depth of works she saw at the studio and spotted a great opportunity to work with these artists, translating the artworks across textiles. So, we had a closer look. The striking component of many works was colour. I saw an incredible use of colour through the artists’ selection of palettes and bold use of scale and form. The works feel liberating and fresh. Pop culture themes are strong with the more illustrative artists, creating artworks representing the ‘here and now.’ Scenes like AFL footy, pop stars, newsreaders and stylised florals amongst a plethora of colourful abstract works are themes not too far from our heart at gorman, which is where the connection was initially made with the APA artists. Can you talk to translating the artworks into a dynamic and unique collection? Lisa Gorman: The process of setting up the collaboration between the artists and gorman brand was facilitated by director Sue Roff and curator Sim Luttin who reflected on the collaboration through how the artwork of APA artists might translate to fabric and jewellery. The artists were selected for a range of reasons, including the adaptability of their works to textiles, free and bold colour and form, and for their ability to sit together collectively to create the range. GEORGIA SZMERLING’s style of artwork fills the page and is visually spaced like a repeat yardage print prepared for purpose. She has a brave sense of colour in her Georgia’s Garden florals but also works with softer tones in her Violet Landscape piece that lends itself perfectly to a denim base with its indigo tones. REBECCA SCIBILIA’s work presents a gorgeous abstract topographical formation in felt tip pen in various palettes as seen in Felt Tip Forest. I see a sort of psychedelic camouflage. This work translates onto softer sheer organic cheesecloth which offsets the intensity of the print to bring an element of electro-femme to the collection. JULIAN MARTIN features often throughout the collection, having worked with four of his original artworks across womenswear, kids wear and homewares. His super clean, illustrative and abstract works represent purity and simplicity that is applied to garments with minimal, clean lines. Martin is the only artist presented in the kids wear collection and three of his ‘characters’ come together to make up the magical range. FIONA LONGHURST has created a work that is lace-like and delicate. We’ve blown up the scale to take it away from being too pretty, the artwork remaining the focal point of the garment. Fiona’s work Lace Face sits vibrantly on textured viscose dupion. ROBYN DOHERTY’s jigsaw-like abstract pattern of coloured shapes, some filled and some left for the unbleached raw natural linen base cloth to come through, is a study in colour. The linen balances the vibrancy of his work in garment form, the black and white outline giving coloured areas definition. ROBIN WARREN’s work Cellular has made an appearance in a small jewellery collection, pulling an iconic component from his work and turning it into a 3D cut and layered acrylic set of earrings. ANTHONY ROMAGNANO uses a mixed medium of pencil and crayon to create colourful imagery of silhouettes of people almost hidden within his work. Anthony’s Palette artwork is used exclusively in the homewares and bedding collection. Our other exclusive homewares artist is ROBERT BROWN. Brown manages to illustrate florals in the most refreshing, freehand style using grey lead and water paints, the highlight being the quilted cotton throw rug resembling a blooming field of multi-coloured daisies. what inspired eden's project with Eden Menta as gorman's Guest Art Director? Lisa Gorman: The extent of engaging the community was an important goal to Gorman in this collaboration. We look for opportunities beyond simply working with artists to apply prints to textiles. In this case, we expanded the involvement of the APA community in the collection campaign. Gorman has supported two projects in addition to the collection, one being a ceramics workshop with local family-owned ceramics studio Robert Gordon and the APA artists, which is coming soon. The other is a photographic campaign of the collaborative collection with APA artist Eden Menta as Art Director. The resulting Eden’s Project is a series of photographs that give insight into their vision of the collection. As a resident artist, Menta is a wonderful illustrator, now developing their practice in costume and makeup while expanding her photography. Menta has a strong sense of style, their natural direction leans towards gothic, grunge and glamour. They are a total gun with eye make-up. Menta selected the location, the outfits, the hair and makeup direction and the set; their chosen models are their partner Ben / Bentley and friend Emily. I saw their concepts on paper coming to life in their direction of the campaign with an eye for detail and beautiful use of colour. For someone who often describes themselves as ‘the darkness’ (joyfully so), Menta worked to marry their style with the intensity of colour-popping from the garments to pull off a textured campaign that highlights the talents of APA artists, from artwork to art direction to their real-life friends modelling. reflecting on the journey of this collaboration, what would you like the community to gain from the collection? Lisa Gorman: This collection is a celebration of the talented individuals and the APA community more broadly, with who my team and I have worked alongside to develop this range. Creating a collection like this requires interpreting and representing the works of artists in a new medium, which entails consultation, trust and understanding of what it is we are seeking as a collective. In this case, a collection that is not only visually exciting but reaches deeper into the community to bring you a holistic project beyond simply the product. I thank the artists who have been open to this concept, together we have produced not only a collection, but an array of creative activity that has more than anything, at least personally, highlighted the art of spontaneity and honesty. I would like the customers to see and feel this too when they experience the collection themselves. Love from the Studio is a series of interviews and articles bringing you behind the scenes of Arts Project Australia. Lisa was interviewed by Arts Project Australia’s communications coordinator Tahney Fosdike.
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Christian Hansen paints from his heritage
Christian Hansen with Mark Smith during Northcote Penguins session Christian Hansen is an emerging artist with Australian and Romani cultural heritage. He works primarily with acrylic, gouache, pencil and pastel on paper and canvas to explore his interests in African and Romani culture. His work is symbolic and powerful, often depicting figures in traditional tribal dress as well as South African early male settlers as a comment on white power and the politics of colonialism. His practice extends to include other subjects close to his heart, such as the wildlife and habitat of savanna animals. He is currently working on an autobiographical book that he has begun illustrating and plans to publish. Hansen has worked in the Arts Project studio since 2017. He has exhibited in numerous group exhibitions and his work is held in in private collections throughout Australia. This interview was undertaken by Hansen’s peers, the Northcote Penguins, a small professional development collective of APA artists who meet up each week to talk about their practices through larger discussions around art history, contemporary art and the arts industry. In this interview, Hansen speaks with them to investigate one of his new works, revealing links to how 19th century oil paintings and Hansen's cultural heritage influence his resulting artistic output. What inspired this image? I like music and dance, and this image was originally inspired by The Sleeping Gypsy by Henri Rousseau. My work is The Dancing Gypsy. What materials did you use? This artwork was painted using acrylic paint using impasto medium and a palette knife. I wanted to paint a picture without using brushes, instead I used a palette knife and encaustic tools wet on wet technique, I swirled the paint like Van Gogh did when painting The Starry Night. Christian Hansen, 'Not titled,' 2020, acrylic on canvas, 50.5 x 61 cm, CHCV20-0002. What were your image references? I used some physical props such as my violin, as well as my knowledge of dancing when painting the figure of the gypsy. I made a digital image of the subject matter using software, which I then used as an image reference and turned it into an acrylic painting. Can you elaborate on certain details that you think are important to the artwork? I have a background in classical ballroom dance and my mother’s grandmother was a Romanian gypsy, so I’m currently researching my family heritage as a resource for my artwork. I have recently become a member of the Australian Romani Gypsy group, and have been learning more about my heritage through the other members. I like to use earth colours to make the painting feel and look more grounded, and I like to use warm colours, such as red, to add focal points to the composition. Browse Christian Hansen’s available works. Love from the Studio is a series of interviews and articles bringing you behind the scenes of Arts Project Australia. Christian Hansen was interviewed by Arts Project Australia's Northcote Penguins.
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The Natural Way Interview #3 – Daniel Richardson
For the exhibition The Natural Way — a show which focuses on the individual practices and thoughts of art creation — curator Elyss McCleary spoke with each artist about their process and practice. The following interview is with Daniel Richardson who creates collage works, replicating various images as well as his own image. Elyss and Daniel talked together during the installation of The Natural Way. - Elyss McCleary: I'd like to ask you about some of the selected works from your practice in this show. We are currently installing it still, what do you think? - Daniel Richardson: I like it cause I'm going forward in the future. -- EM: Can we talk about these framed works on the back wall, featuring a variety of different personalities, overlaid with your drawings? -- DR: That's showing before the 1950s. Victoria Allen Richardson fell in love with Dr. David Thomas Richardson. She is a timelord. This is other one is Matt Smith's wife. -- EM: How about this one here? -- DR: That's Dr. Daniel Johnno Richardson - he' s really me in 2049, it's the new future! -- EM: What materials do you like using in the studio? = DR: The paint texta is my favourite. I like collage and I start early in the day. = EM: I noticed in the studio you like to set up your work space in a certain way with research materials, do you enjoy starting like that? = DR: I like images a lot. I like a lot of new piles of work - it is good for some reason for me. I do everything, that's right. = The Natural Way ends 23 November.
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The Natural Way Interview #1 and #2 – Robin Warren & Danny Lyons
For the exhibition The Natural Way — a show which focusses on the individual practices and thoughts of art creation — curator Elyss McCleary spoke with each artist about their process and practice. The following interviews are with Robin Warren – whose gentle yet assured abstract works conjure explorations into colour and layered compositions — and Danny Lyons, who continuously inserts himself into various pop culture scenes in digital works that draw upon internet culture. Interview #1 - Robin Warren - Elyss McCleary: Im going to start of the interview as I have with all the artists involved in this exhibition with a question about you and an action. Was there a time you remember that you first thought I want to make an image of what I see? Robin Warren: I've done representational things, but have sometimes explored an idea just to see what happens. I was pretty good at art in high school, and have been layering things recently. EM: What was it like in the studio in Perth where you made your formative body of work? RW: I went to TAFE and made a lot of work. I heard about Arts project in Melbourne and moved here, first to Preston to be near the studio, then house sitting Hampton, and then finally back near Arts Project. EM: Did you always have a close understanding of colour? RW: My favourite colours are blue and orange, but I use all the colours. EM: How do you like to begin a work? RW: I start in the centre and then work outwards. EM: Has moving to Melbourne and being part of a large collective of artists here at Arts Project influenced or changed the way you work? RW: The textas and materials have made a change in my work — it's where the blending happens. EM: Is there anyone or a few artists that you admire or have had a strong positive impact on your practice? RW: I've always thought music had an influence more than visual arts, in particular the band CREAM. But if I did have to choose an artist of influence it would be Salvador Dali. Interview #2 - Danny Lyons - Elyss McCleary: The works featured in The Natural Way are photos you have made with collage that have yourself pictured performing in them. When did you start making this series? Danny Lyons: I started in 2017. James got me interested in the idea through my I love music. I love music, I love movies and the idea of doing photography has given me the opportunity to express my ideas and about how I feel about it. EM: I'm interested in how you set up these scenarios for the photoshoot? DL: I come to Penny with the ideas in my head, I tell her what the ideas is, and we find ways to transfer it into an image. We put it up and we show everyone. I'm still in the process of evening things out. EM: Do you prepare your set and outfits? DL: Some costumes I've got at home, and some I had to photoshop off the computer with the help of Eden Menta — one of the artists that works here. She helped me paint my face like Robbie Williams from the Let Me Entertain you clips, which was one one of the first ones I did two years ago. EM: Great! Is it fun to do that? DL: I get a lot of enjoyment out of it. Some of the things are funny and happy, like pretending to be Rocky Balboa boxing and Rambo cause I'm a fan of Sylvester Stallone. I find a picture I really like and interests me, and I try to do the poses to match the picture. EM: Tell me about these footy photographs. DL: I'm a big fan of Essendon. I have been since I was little. I always want to see them playing well either in person or on TV. And we came close to the season just gone. It's been almost 20 years since we won a premiership and I'd love to see that happen one day. The picture of Joe Danahoe and me in the coaches box and the press conference — it captures where they go and talk about the game, their thoughts on how well they played what they did right and what they did wrong, and what they hope to improve and make it better, and the steps it takes to win the grand final. EM: How about the image of you and ET, what brought you to create this? DL: Well, I just love the ET movie and I've loved it for so many years. It was the first movie I ever saw growing up and I reckon it's the best work Steven Spielberg has ever done. It was a beautiful friendship, and there were so many people that wanted to be in the picture with ET. I put myself in the picture so now I can be part of the picture too with ET. I really enjoyed doing that.
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Collector’s Corner #6 – Charlotte Day and Kirrily Hammond
- Collector’s Corner presents a series of conversations with avid art collectors, searching for the rich stories and ideas that are woven into their incredible (and enviable!) collections. The collectors we chat with show a boundless support of contemporary art, with their ever-growing enthusiasm entwined with the story and artists of Arts Project Australia. For Collector's Corner #6 we caught up Charlotte Day, Director of Monash University Museum of Art (MUMA). Charlotte was previously an Associate Curator at the Australian Centre for Contemporary Art and part of the curatorium who worked on the Michael Buxton Collection of Australian Art. She's a passionate supporter of the speculative and experimental in art and sees her role as being to bring people, art and ideas together. Charlotte interested in ways art collections can be activated and shared and how we can work with art in the public realm. Not to mention she also curated the group exhibition Let's Dance at Arts Project in 2017. We also talk with Kirrily Hammond who works alongside Charlotte as the Collection Manager at MUMA, as well as being a practicing artist. She was previously employed at Canberra Museum and Gallery, Megalo Print Workshop, Canberra, and the National Gallery of Victoria. She has a Curatorial Masters Degree at the University of Melbourne and a Diploma of Law through the Institute of Art & Law, UK. As Collection Manager at MUMA, Kirrily oversees the installation of art across the various Monash University campuses. Together, the pair have an incredible amount of collecting and artistic wisdom, both from their professional perspectives, as well as acute personal insights. Have a read as they discuss their art epiphanies, working with artists from Callum Morton to Bianca Hester, and the importance of story-telling and personality when collecting artwork. "I WAS VERY EXCITED THAT WORKS BY FULLI ANDRINOPOULOS WERE RECENTLY ACQUIRED FOR THE MONASH UNIVERSITY COLLECTION. I’VE BEEN A FAN OF HER RICHLY COLOURFUL DRAWINGS FOR QUITE A FEW YEARS..." FULLI ANDRINOPOULOS, NOT TITLED, 2015, INK ON PAPER, 11 X 14 CM. - We're curious as to how you first became interested in art? Did you have an art epiphany for instance? Charlotte: I grew up going to galleries but my first love was the old Melbourne Museum’s dioramas which I thought were absolutely magical. When I was ten my family went on a whirlwind tour of Europe and we visited a lot of museums. After university, I went again and I think it was these trips that really cemented my love of museums. I came back and enrolled in the Post Graduate Diploma in Art Curating, as it was then called at the University of Melbourne. This was a new course, and at the time I was unaware that it was actually one of the first of its kind in the world. It provided a broad overview of the museum profession but through it I interned at 200 Gertrude Street where I got to meet artists and get closer to contemporary practice. It wasn’t until I worked on the Michael Buxton Collection, in the late 2000s, that I became involved in an art collection. Kirrily: I guess it’s apt that a very early art epiphany happened while I attended a catholic primary school in New South Wales, where the other kids always asked me to draw Jesus for them! It made me realise not everyone had a natural predilection for drawing. Throughout my career working in museums and galleries, I’ve always gravitated towards caring for collections – I love working with objects and I feel pretty lucky to see how a wide range of artists approach their practice. Monash University Museum of Art Collection contains an incredible selection of works. How would you describe your approach to collecting art for MUMA? What decisions and processes come into play when selecting work on behalf of an institution? Charlotte: When I first came to MUMA I undertook a review of the collection to test the assumptions made about it. We looked at the collection from many different angles: gender, generational, media, subject, topicality etc, and made decisions on what to prioritise accordingly to build up representations and fill certain gaps. This makes the process sound scientific and I do like to have a collecting plan! That being said it is also important to allow for spontaneity and to be able to be responsive to what artists make and in doing that you may not be able to predict. Kirrily: First and foremost, I think the work has to be compelling, and it should be an excellent example of the artist’s practice. In terms of the Monash University Collection, the focus is on Australian contemporary art, so it’s important to be aware of what artists are doing – from studios, artist run spaces, commercial spaces to larger institutions and everything in between! CATHY STAUGHTON, LADY ARTS PAINT PAGE, 2017, WORK ON PAPER, 50 X 49.5 CM. - You both collect art in your personal lives, as well as in your roles at MUMA. What do you love about collecting art and what compels you to collect and keep collecting? Charlotte: I think Kirrily might be more of a collector than I am! The artworks I do have are mostly connected to exhibitions or projects that I have been involved in. When I was an undergraduate student I did acquire two postcard sized artworks by Tony Clark that I am still very fond of. Most recently I acquired a 2D work by Alex Martinis Roe for my daughter. Kirrily: The works that I own were mostly collected due to a personal connection to the artist - whether it’s a swap, or I’ve purchased a friend’s work, or the artist is pursuing similar interests to my own through their practice. Surrounding myself with these works is rejuvenating and inspiring. Is there a particular artwork or artist that you’ve been most excited to collect? Whether in your roles at MUMA or personally? Kirrily: Late last year I oversaw the installation of Kulata Tjuta (2012-14), a significant installation of 277 spears suspended from the ceiling in the university’s main library at the Clayton campus. This is a compelling work that was created by artists from the Tjala Arts centre in the community of Amata in South Australia. Charlotte: A number of years ago I was involved in the collecting of Simryn Gill’s Throwback - Remade internal systems from a model 1313 Tata truck, circa 1985. (2007) for the Michael Buxton Collection. It's an ambitious work that is also rife with inherent vice. So when it was acquired, it was a real sign of the Collections' support for challenging work. At MUMA, in recent years we have focused on work by Indigenous artists with the Kulata - that Kirrily has mentioned - as being one of our most significant acquisitions. We are currently working on a public art project with artist Megan Cope that incorporates languages and sharing of knowledge that we are excited about. A few years back we acquired an instructional performative work by George Egerton Warburton that heralded a new collecting direction for the Monash University Collection. Do you have a memorable art-related experience or moment? Either as a curator, artist or collector? Charlotte: I have so many! Setting up Callum Morton’s three-quarter scale version of his family home as a ruin at the Venice Biennale was thrilling. Working with Bianca Hester on her installation at ACCA, which changed every day across the course of the exhibition, was challenging and liberating. When I first came to MUMA I invited Fiona Connor to make a responsive work to the university context and she made a great project that connected the museum to the collection, the architecture of Monash and the history of display. I have to mention too, Stuart Ringholt’s nude disco which had a profound effect on the museum and its audiences. These are just a few…What I like about MUMA is that it's a museum space with climate control etc, so we are able to loan really significant works to exhibit but it also has the quality of a project space in which we can commission new work and build in situ – hopefully we can maintain a useful tension between these two approaches. Kirrily: In 2005 I undertook an extended period of research in the British Museum’s prints and drawings study room, with open access to a mind-boggling collection, there were many amazing things to study. Leafing through Bellini’s sketch book from the mid-1400s was one highlight. At MUMA we have many school groups visit behind-the-scenes: to be able to facilitate viewing works from the collection and see the looks of wonder on students’ faces is pretty special. What was your first encounter with Arts Project and when did you first start to become interested in artwork by our artists? Charlotte: I think it was Ricky Swallow's involvement with Arts Project, as well as my own interest in a number of the artists that drew me to visit the first time. Arts Project does such a great job of promoting artists and creating opportunities for them to connect with other artists. Kirrily: I was very aware of Arts Project for some time before I had the opportunity to delve deeper into the archive whilst curating an exhibition for them in 2013. It was such an inspiring experience to be surrounded by such a rich collection of work and be in the vicinity of some truly prolific artists. "CHRIS MASON’S NUDE YOGA CERAMICS ARE PRETTY SPECIAL..." CHRIS MASON, RECLINING NUDE, 2015, CERAMIC, 19.5 X 35.5 X 42 CM. - Can you talk about the artworks you have collected from Arts Project? We know you’ve collected works personally, but there was also an exciting recent addition to MUMA’s collection… Kirrily: I was very excited that works by Fulli Andrinopoulos were recently acquired for the Monash University Collection. I’ve been a fan of her richly colourful drawings for quite a few years and being able to acquire a significant group and then immediately put them on display at the university was immensely satisfying. If you were to purchase another Arts Project artwork right now, which artist would you look at and why? Charlotte: A number of Art Project artists’ work is inspired by science fiction and outer space – I’m drawn to those subjects and imaginative spaces! I really like Cathy Staughton’s work, also Chris Mason’s nude yoga ceramics are pretty special too. Kirrily: The drawings and paintings of Warren O’Brien and Rebecca Scibilia are wonderful. WARREN O’BRIEN, NOT TITLED, 2018, WORK ON PAPER, 38 X 56 CM. - And finally, what pearls of wisdom have you learnt about collecting – both from a gallery perspective and as a personal collector? Charlotte: The collections I like the best have personality and stories that connect to them. They follow particular passions or threads and go deep into practice. Kirrily: Avoid collector’s regret – if it’s possible to acquire a work that you are particularly drawn to, go for it - the opportunity doesn’t usually happen twice! This is Arts Project Australia’s fifth edition of Collector’s Corner. Have a read of Collector’s Corner #1 with Clive Scott, Manager of Sofitel Melbourne; Collector’s Corner #2 with Abi Crompton, founder and director of Third Drawer Down; Collector's Corner #3 with Kim Butterworth and Graham Meadowcroft, publishers of Art Guide Australia; Collector's Corner #4 with artist Ricky Swallow; and Collector's Corner #5 with artist Sassy Park. Stay tuned for further editions and feel free to gander through our art collections, as well as find out more about Arts Project Australia’s artists and art. "THE DRAWINGS AND PAINTINGS OF WARREN O’BRIEN AND REBECCA SCIBILIA ARE WONDERFUL." REBECCA SCIBILIA, THE ROYAL WEDDING, 2018, TEXTA ON PAPER, 35 X 50 CM.
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Collector’s Corner #5 – Sassy Park
SASSY PARK IN HER SYDNEY HOME. PHOTO BY OTTO SCHWERDTFEGER. -- Collector’s Corner presents a series of conversations with avid art collectors, searching for the rich stories and ideas that are woven into their incredible (and enviable!) collections. The collectors we chat with show a boundless support of contemporary art, with their ever-growing enthusiasm entwined with the story and artists of Arts Project Australia. For Collector's Corner #5 we caught up with artist Sassy Park. Based in Sydney, Park is currently completing a Masters in ceramics at the National Art School, having previously studied painting at Sydney College of the Arts. Between working at various galleries in Australia and overseas before starting her Masters, she eventually found herself at Darren Knight Gallery in Sydney, where she first became acquainted with Arts Project Australia. Through Darren Knight's philosophy and approach to art and artists, Park found a great match to her own ideas. Her time at the gallery allowed her to meet and find out about a wide range of art practices and practitioners. Arts Project became one of these areas of interest, with new artists to follow and new artwork to engage with. Nowadays, When she's not creating or studying, Sassy spends time with her partner Karl and their three children (not to mention the chickens and cats!). Have a read of our interview with Sassy, where she delves into the intuition behind collecting, how her daughter inspires her practice and why "looking at art is like falling in love." "A life-size ceramic typewriter and script describing a ‘harrowing disaster at Summer Bay’ from the TV soap. It is a masterpiece..." Lisa Reid, TA Adler Contessa 2, 2016, ceramic, 14 x 33 x 33 cm. - We're curious as to how you first became interested in art? Did you have an art epiphany for instance? I grew up in a regional town in Queensland, a bit bereft of cultural pursuits, but perhaps that made it all the more exciting to seek out and buy my first artwork at about 16 years of age from the only commercial gallery in town. My parents, unconventionally for the times, encouraged me to go on to art school, although my father warned me about the boys, having briefly been an art student himself in London. From this background I’ve always loved all aspects of art; the making, thinking, looking, curating, collecting, caring for art and advocating for artists. How would you describe your approach to collecting art? Do you think being an artist yourself influences the pieces you collect? Collecting art is a compulsive pursuit, like any other form of collecting. However, I have always thought that it is far more enriching buying an artwork than say, a pair of shoes. I still use this judgement when I think of spending on something—what would I rather have? This is much easier now as I've taken to wearing Birkenstocks, which leaves even more in the art budget. I am constantly amazed when I walk into people’s houses with barren walls lacking any form of visual stimulus. I suppose I have a need to be surrounded by all the things I love, which includes art. Being an artist maybe makes me more confident about what I think is great and rewarding. I’m also interested in what other artists buy and collect as a reflection and insight into their own work. What do you love about collecting art and what compels you to collect and keep collecting? Being surrounded by and living with art keeps me collecting. Obviously this can become problematic with diminishing wall and shelf space. I do rehang and rearrange occasionally, which is like having a mini curatorial project in your own home. Looking at art is like falling in love. When an artwork hits you, there is a rush of excitement and an impulse to keep it near to you. You keep them in your heart and head as well as on the wall. It’s a continuous dialogue. You think about the beauty and the ideas that arise out of the work, the ideas of the artist, what were they thinking about, how did they go about making it. "More pieces by Ruth Howard would be a goal..." Ruth Howard, Not titled, 2011. ceramic, 14.5 x 9.5 x 9.5 cm. - Generally speaking, which contemporary artist do you most admire and why? Visiting museums and galleries wherever I go has excited and inspired me, but then I am equally in awe of my own children’s artwork: seeing what comes from their imaginations. I was profoundly impressed when my daughter, Lotte, first started making ceramics at the age of eight; how had she combined the two-dimensional painting with the three-dimensional form? She really started me on my pathway in ceramics. Also, artists that show some vulnerability in their work, or come from a personal place, further interest me. Noel McKenna is one such artist, as well as a friend. I continue to admire and fall for his work: the artist and the work are mutually exclusive but also bound up in one another. Do you have a memorable art-related experience or moment? Either as an artist or a collector? After working in galleries, I now really enjoy putting people in touch with pieces that they end up loving and buying. This reinforces my convictions about the meaning and purpose of art as an integral part of life. In recent years, I have had the experience of people responding to my own work. It feels like the tables have turned when I am on the receiving end. It’s a wonderful feeling to receive feedback because as an artist you are embedded in the relationship with the art object. To see them out in the world and having a life of their own is quite strange. Maybe they take a little part of me with them. What was your first encounter with Arts Project and when did you first start to become interested in artwork by our artists? I think I first saw Arts Project artists at Peter Fay’s travelling exhibition Home Sweet Home in 2007, as well as encountering the ceramics of Alan Constable. The work was immediately intriguing and compelling to me. Then it was exciting to following up the artists, visiting Melbourne, and seeing Arts Project exhibitions, as well as representation at art fairs and wider group shows. I try and visit when I come to Melbourne and have curated a show in Sydney with Arts Project artists, Lisa Reid and Alan Constable. I’ve always come away from my contact with Arts Project deeply impressed with their philosophy and passion. "Alan Constable’s cameras work grouped or solo, and I like the connection to ceramics and photography, reflecting my and Karl’s careers." Alan Constable, Not titled, 2016, ceramic, 13 x 18 x 13 cm. - Can you talk about the artworks you have collected from Arts Project? Is there a pride of place where they sit or hang? I like the idea of the mantlepiece as a central focus for the display of objects in the home. This is an area I often arrange with pieces such as Ruth Howard’s Pile or Alan Constable’s cameras. Alan Constable’s cameras work grouped or solo, and I like the connection to ceramics and photography, reflecting my and Karl’s careers. I was thrilled when Karl became enamoured with one of Chris Mason’s ladies, which now sits pride of place on the bookshelf next to the mantlepiece. I also have Lisa Reid’s work TA Adler Contessa 2, a life-size ceramic typewriter and script describing a ‘harrowing disaster at Summer Bay’ from the TV soap. It is a masterpiece but I need a larger area to display it! If you were to purchase another Arts Project artwork right now, which artist would you look at and why? I just realised I have collected solely ceramic sculptures from Arts Project artists, which I suppose is unsurprising. I am always interested in what clay can do. More pieces by Lisa Reid and Ruth Howard would be a goal, and I've seen some shoes Lisa made which I think are great. I like Ruth Howard’s paintings and Alan Constable’s drawings too. I’ve always enjoyed the strong graphic colours of Julian Martin’s pastel drawings and the immediacy of Boris Cipusev’s pen drawings. I am also drawn to works based on contemporary pop culture, which several of the artists make their subject matter. And finally, what pearls of wisdom would you give a first-time collector? Don’t be afraid to go with a gut instinct. It’s worth recognising when something has connected with you, maybe deeply or even superficially, that it is something special. Also buy what you like and what you can afford as this provides the longest enjoyment of an art collection. This is Arts Project Australia’s fifth edition of Collector’s Corner. Have a read of Collector’s Corner #1 with Clive Scott, Manager of Sofitel Melbourne; Collector’s Corner #2 with Abi Crompton, founder and director of Third Drawer Down; Collector's Corner #3 with Kim Butterworth and Graham Meadowcroft, publishers of Art Guide Australia; and Collector's Corner #4 with artist Ricky Swallow. Stay tuned for further editions and feel free to gander through our art collections, as well as find out more about Arts Project Australia’s artists and art.
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Collector’s Corner #4 – Ricky Swallow
Ricky Swallow. Photo by Aya Muto. - Collector’s Corner presents a series of conversations with avid art collectors, searching for the rich stories and ideas that are woven into their incredible (and enviable!) collections. The collectors we chat with show a boundless support of contemporary art, with their ever-growing enthusiasm entwined with the story and artists of Arts Project Australia. For Collector's Corner #4 we caught up with Ricky Swallow, a renowned artist who works primarily in sculpture. Raised in San Remo, and now living and working in Los Angeles for the past 15 years, Swallow initially studied at the Victorian College of the Arts, living and working as an exhibiting artist in Melbourne in the late 90s and early 2000s (during this time he was associated with artist-run initiatives Grey Area Art Space and Rubik, and had a very productive two-year residency at Gertrude Contemporary). These days he shares home-life, and a studio, with his wife Lesley Vance and their young son. As Ricky says, "Lesley is a amazing painter and it’s great to be around such unwavering dedication like that. I think together we’ve made sense of our roles as artists." Ricky has long been a great supporter and friend of Arts Project's and in 2016 he curated a sell-out show of Terry William's soft sculptures at New York's White Columns. Read below as Ricky tells us about how he encountered Arts Project, how collecting art can tell us things about ourselves and how being an artist is somewhat akin to the act of a cat pooping! "Really precious ceramics..." Terry Williams, Not titled, 2009, ceramic, 8 x 6 x 3 cm. - - Could you tell us about when you first met Arts Project Australia? That’s tricky because I was aware of Arts Projects when I lived in Melbourne—via a guest lecturer at Victorian College of the Arts—but it wasn’t something I was really looking into at that stage. When Alex Baker was a curator at the National Gallery of Victoria we became friends through a show I did in 2009, and he started putting certain artists from Arts Project onto my radar, via his enthusiasm and the projects he was planning with you guys. Alex eventually went to Fleisher/Ollman in Philly (John Ollman, the owner of Fleisher/Ollman, is obviously legendary in the field of self taught art and a lightning rod in putting so much of it into the culture here in the states), and perhaps since Alex has been there I’ve been able to see certain things that made me realise I needed to take a closer look. I visited Arts Project in 2013 and again in 2014 and at that point I was starting to talk to Sim (Arts Project Manager and Curator) about projects I wanted to curate and also collecting a few artists... And then somewhere in the middle was the small show I organised for South Willard of Alan Constable’s camera sculptures! _ We're curious as to how you first became interested in art? Did you have an art epiphany for instance? I’m not sure if you mean collecting art or making art? My grandfather on my mothers side was a huge factor—a real Bricoleur and Sunday painter—along with my grandparents who collected small things (more like crafts and small sculptural souvenirs from travel), and that was actually the first instance of being exposed to collecting, curating and also displaying I think... My grandfather posed this question, "What is the artists role? What do they do?” As a kid I answered I wasn’t sure. So he said, “What does the cat do when he climbs my fence at night and shits in my garden? What is he doing?" My grandfather answered, “He’s leaving his mark, and that’s what artists do. Leave their mark.” It's still the best explanation anyone has offered me perhaps! "There's something very aggressive and also very generous to the images and language he's building. It's asking a bunch of interesting questions about the very nature of picture making, I think." Samraing Chea, Universal vision of the Entire Space, 2015, pencil on paper, 18 x 19 cm. _ _ How would you describe your approach to collecting art? Do you think being an artist influences the pieces you collect? I think my approach is basically to try and be true and trusted in your attraction to an artwork. It’s hard to turn off outside influence or a kind of ambient buzz toward certain things, but that’s collecting for the wrong reasons. Being an artist and being married to an artist obviously effects things. What I’ve learnt is that living with a great or mysterious artwork can be very generative—certain artworks can literally cause the creation of a certain work in one's own practice, or present a problem-solving mechanism—a freedom, or perhaps a dose of colors that you yourself would not normally permit into your practice. So collecting is not just about amplifying an interior or seeming to have a certain taste. It’s part of a bigger creative process. - What do you love about collecting art and what compels you to collect and keep collecting? At a really basic level I love waking up and looking at this stuff, or coming home from the studio to artworks which now seem like permanent fixtures in our house (we hang very little, if any, of our own artworks at home). There’s also an addiction or habit to it—to try and collect a perfect grouping of one artist in which each piece is either in synchronicity, or tells you one specific thing about the artist, or how it can be a diverse group which signals different worlds of interest for the artist. There’s always an artist you haven’t been exposed to and sometimes I like how the juxtaposition of different works creates an unexpected connection. This is something that’s obviously not accidental, but it’s interesting how it occurs. What we collect can tell us a lot about ourselves, I think—I’m always shocked and a little suspicious of those with no collecting habits! - Generally speaking, which contemporary artist do you most admire and why? That's really impossible to pin down! What has been nice through a few curatorial projects I've done is getting to know artists with multiple decades of working under their belt—there's something deep there to admire in just persisting as an artist and walking into a room for 40-50 years every day and setting to work with materials and contributing to the world of objects in such a specific way—finding your own way of doing things and not compromising and getting through some sleepy decades without losing faith. Ron Nagle is an artist I really admire in this regard and also Magdalena Suarez Frimkess, both of whom I'm happy to count as friends too. From these artists I've learnt a great deal about stubbornness and the importance of humour as necessities to always keep moving things forward—and the powerful authority of the domestically scaled object! - Part of Ricky's Arts Project Collection. Alan Constable, Not titled, 2010, ceramic, 14.5 x 29 x 12.5 cm. - Can you describe your best art experience for us? I can describe a recent one that's really fascinating to witness, and that's our son's recent awakening, or daily commitment, to drawing and mark making. He's four now and I feel like it's been important for me to always put materials in front of him—things like sculptural-drawing and painting tools. It's really been in the last couple of months that he's started making drawings which follow some strange internal logic—a world I just could never access. And when he's making them he's really in the zone and I like to just step back and watch it happen. It's not even as simple as this, as if it's just a middle earth between abstraction and figurative logic creeping in. It's a weirder place than that and I have this feeling it's a small window of image making that is momentary and important. - When did you first hear about Arts Project and first encounter artwork by our artists? It's hard to pin point the actual time of the encounter. I want to say in my early 20's when the collector Peter Fay from Sydney was showing me his collection—he had been collecting works from Arts Project that he was excited about. And I mentioned Alex baker already, who connected me more specifically to some of your artists. But perhaps the most meaningful encounter was visiting in 2013 because that was a full tour with time to really see the facilities, meet some of the artists and actually handle and experience the works close up. I think I left with a box of works to bring back to LA! - Tell us about the artworks you've collected from Arts Project. Is there a pride of place where they sit or hang? On our fireplace mantle we have a pair of smaller cameras by Alan Constable, a group of really precious ceramics by Terry Williams and a series of small ceramic stacks by Ruth Howard. So it's specific in that it's one row of objects entirely from Arts Project. There was a ceramic by Alice Mackler with them, but that's recently been moved. The stacks by Ruth are of specific personal appeal because they were something that Lesley really responded to when we visited again in 2014. I'm more of the accumulator in general, so when Les takes the lead it's always exciting and very specific, and I think from a painterly perspective she thought they were great—kind of perfectly resolved still-life-type objects. When you look at them you can kind of participate in their making in your mind, or understand some kind of necessity to their building gesture. - "When you look at them you can kind of participate in their making in your mind, or understand some kind of necessity to their building gesture." Ruth Howard, Not titled, 2013, ceramic, 10 x 12 x 10 cm. - - If you were to purchase another Arts Project artwork right now, which artist would you look at and why? A good question because I literally just purchased a work in the recent week! It was a drawing of Samraing Chea from the show at ReadingRoom, curated by Matlok Griffiths and Rob McHaffie. I had a group of Samraing’s pieces after finding the work via Matlok a couple of years back, as he had collected a couple of drawings. But to see the new ones was kind of amazing as I feel like some of the narratives had become less like isolated worlds and more of a mirror or visual response to current political turmoils. So the drawing I chose of Samraing's adds a very different element to the small collection I now have. There's something very aggressive and also very generous to the images and language he's building. It's asking a bunch of interesting questions about the very nature of picture making. - And finally, what pearls of wisdom would you give a first-time collector? If an artist tells you you should check out another artists work, it normally means you really should check it out. Think about collecting not just as attaining or owning something great, but also (in most cases) putting resources back into the hands of the artist that created the thing. Try to hold out for the thing that really resonates with you. Main meal stuff, and less snacking. - This is Arts Project Australia’s fourth edition of Collector’s Corner. Have a read of Collector’s Corner #1 with Clive Scott, Manager of Sofitel Melbourne; Collector’s Corner #2 with Abi Crompton, founder and director of Third Drawer Down; and Collector's Corner #3 with Kim Butterworth and Graham Meadowcroft, publishers of Art Guide Australia. Stay tuned for further editions and feel free to gander through our art collections, as well as find out more about Arts Project Australia’s artists and art.
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Artist Spotlight: Bronwyn Hack
Artist Bronwyn Hack in the Arts Project studio. Bronwyn Hack’s artwork hints toward melodrama, fictionalised scenes, tactile creations and bodily formations. In recent years her work has been characterised by an interest in animals (particularly wild and domestic dogs) and an avid preoccupation with bones, as well as the observable and hidden parts of the human body. Having worked from the Arts Project studio since 2011, Hack is becoming known for her multi-faceted practice which spans sculpture, painting, printmaking, ceramics and 3D art. At the centre of this practice sits her recent soft sculpture works that reinterpret singular elements of the body. “I’ve always been interested in the body,” explains Hack. “I’m interested in the different shapes and all the body parts and where they go.” Hack has been regularly exhibiting her soft sculpture, with her two-part work The Body Piece currently showing at Bundoora Homestead Art Centre. Shortlisted for the Darebin Art Prize, the sculpture faithfully depicts reinterpretations of male and female private parts. Bronwyn Hack, 2017, The Body Piece, soft sculpture. Image courtesy of Darebin Art Award and Bundoora Homestead Art Centre. Hack was also one of five Arts Project artists curated by Anthony Fitzpatrick, curator at Tarrawarra Museum of Art, into the group exhibition Faraway, so close. During the show, which took place towards the end of last year, Hack worked in close collaboration with Gosia Wlodarczak and Terry Williams to create A Room of Haptic Knowledge. Hack’s contribution was a series of body parts including eyes, lips, intestines and a brain. Faraway, so close - installation image. Bronwyn Hack soft sculpture along Gosia Wlodarczak drawings. Photo by Kate Longley. Now 2018 is promising to be an even more fruitful year for the artist. Her printmaking work is appearing in group exhibition Under Pressure (opening this Saturday 3 February) and her artist zines will be on display, and available for purchase, at the upcoming Festival of the Photocopier Zine Fair on Sunday 11 February. Not to mention in June this year Hack will commence a residency at the Australian Tapestry Workshop, where she’ll continue work on her soft sculpture body pieces. This transformation marks an acute development from Hack’s earlier work, which often focused on scenes of attraction featuring fictionalised characters and personas drawn from her imagination. When asked about her process and her move towards soft sculpture and body-based works, Hack explains how she often decides every Monday what she will create for the rest of the week. “I get ideas from the internet, books and what I see and I’m looking at body photos” she says. “I just know what to do when I’m doing it, and what colour and shape to use.” Our Artist Spotlight series highlights the practice and ideas of Arts Project studio artists - stay tuned for more spotlights! Bronwyn Hack working alongside Gosia Wlodarczak and Terry Williams for 'A Room of Haptic Knowledge' as part of 2017 exhibition 'Faraway, so close'. Photo by Kate Longley.
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Collector’s Corner #2 – Abi Crompton
AA Collector’s Corner presents a series of conversations with avid art collectors, searching for the rich stories and ideas that are woven into their incredible (and enviable!) collections. The collectors we chat with show a boundless support of contemporary art, with their ever-growing enthusiasm entwined with the story and artists of Arts Project Australia. For our second edition of Collector's Corner we caught up with Abi Crompton, founder and Director of Third Drawer Down. Established in 2003, Third Drawer Down is an innovative company that specialises in creating limited edition art products, featuring the works of Australian and international artists and designers (think Ai Wei Wei, David Shrigley, Jon Campbell and Frances Cannon among many others). We recently had the great fortune of collaborating with Third Drawer Down (alongside the National Gallery of Victoria) to produce Australiana: a series of merchandise featuring the work of Arts Project artists, creating everything from Sidney Nolan-inspired hip flasks to Hey Hey It's Saturday! cooler bags. Read below as Abi tells us about her current "art crushes", collaborating with Louise Bourgeois and how collecting is about the personal connections she makes with artists and art... Abi Crompton posing as a banana for Arts Project's 2014 exhibition 6 Degrees of Separation. Thanks for taking the time to talk with us. Can you tell us about how you first met Arts Project Australia? I was introduced to Arts Project when Bronwyn Johnson was the Director of Melbourne Art Fair, and she told me I should buy an Alan Constable camera. I went to the Arts Project stand and fell in love. Later, while eating sushi on the stairs at the Melbourne Art Fair and pining over how I could collaborate with Arts Project, I somehow happened to be sitting next to Sue Roff who was stuffing envelopes. We started to chat and an art-love affair began! We're curious as to how you first became interested in art? And how did this interest link with founding Third Drawer Down? I become interested in art while studying psychology in my early twenties. I completed this degree and then put together a portfolio and studied fine art for five years, as I realised I was more 'left brain' than 'right brain'. I do feel like I use all parts of my brain now though, especially as working with artists to develop objects requires empathy, understanding and creative processes. How would you describe your approach to collecting art? Or, even better, what kind of collector are you? I collect art the same way I work with artists: visual impulse and appreciation of an artist's values. My collection is mainly based upon the artists I have a relationship with, as their story is apart of my story, and the story of Third Drawer Down. Generally speaking, which contemporary artists do you most admire and why? Is there someone in particular who’d be your dream to collaborate with one day? I have so many artists I admire. If I had to pick them today, I'd say David Shrigley, Yayoi Kusama and Guerrilla Girls. All of them have their own unique way of communicating the currency of our current times. It's the 'right now', either through politics, humour or beauty. My dream collaborations include Cindy Sherman, Barbara Kruger and Kerry James-Marshall. Can you describe your best art experience for us? Or perhaps a great Third Drawer Down moment? My favourite collaborations... hmm. Well, there are a few and they all carry amazing stories as I've met such remarkable people through collaborating with them. While I have told this following story a few times, it still remains vividly in my mind: I have always had a major “art crush” on Louise Bourgeois and a few years ago Tate in London invited me to meet and discuss working together on projects. The day before the meeting, I walked around Tate with my notebook listing all the artists I have dreamed of working with: quite a list if I don’t say so myself! So there I was, sitting in the meeting the following day and the Tate opened the dialogue with the forthcoming Louise Bourgeois project, and I jumped in head first, telling them about my list of artists and my personal list being headed by Louise Bourgeois. My meeting folk looked at each other and slid a folder across the table, saying, ‘”Well Abi, it is Louise Bourgeois we want you to work with!” How is that! I was so buzzed out, she so rocks my world and I couldn’t believe my fate in this scenario. This was the first major project with a museum and the beginning of the Third Drawer Down Studio. During the fantastic project, I met Louise while in New York and she signed the prototype handkerchief we were developing. It reads: “I HAVE BEEN TO HELL AND BACK. AND LET ME TELL YOU IT WAS WONDERFUL”. Describe the artworks you have collected from Arts Project. Is there a pride of place where they sit or hang? I have collected works by Paul Hodges, Lisa Reid, Terry Williams, Alan Constable, Patrick Francis and Peter Cave. They are the proudest artworks I have in our home and they take over the entrance hall and lounge room. My most cherished is the painting Peter Cave created of me dancing in a banana suit! In 140 characters or less, distil for us what it is you like about being a collector and friend of Arts Project? I love everything Arts Project stands for – the artists and the team that make the magic happen, and the community that supports this. It's more family than organisation. If you were to purchase another Arts Project artwork right now, which artist would you look at and why? I would buy more Laura Sheehan. Her recent solo exhibition at Arts Project was so wonderful. Her lively, colourful and whimsical paintings of soft-toys-pastiche rocked my world. We were fighting over them at work when the invite was sent! And finally, what pearls of wisdom would you give a first-time collector? Buy from the heart. Art should be about your experience to it, not what others tell you to feel. This is Arts Project Australia’s second edition of Collector’s Corner. Have a read of our first edition with Sofitel Melbourne Manager Clive Scott. Stay tuned for further editions (coming very soon!) and feel free to gander through our art collections, as well as find out more about Arts Project Australia’s artists and art. "My most cherished is the painting peter cave created of me dancing in a banana suit." Peter Cave, Abi in a banana suit, 2013, work on paper, 76 x 56 cm. Artist Peter CAVE creating his Abi-Crompton-Banana masterpiece. "Her recent solo exhibition at arts project was so wonderful. her lively, colourful and whimsical paintings of soft-toys-pastiche rocked my world." Laura Sheehan, The song til the end, 2015, work on paper, 39.5 x 54 cm. AA Another one from Abi's collection: Lisa Reid, The Kylie collection, 2003, work on paper, 34 x 28.5 cm.
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Artist Spotlight: Bobby Kyriakopoulos
Bobby Kyriakopoulos is both a painter and digital artist whose work traverses the scenes of carnivals and public events, underwater and above-water landscapes, cultural appropriation and an interest in film scenes, particularly the blockbuster-heroic-male - which often contains anxious undertones. Figures such as Wonderwoman, historical persons and characters of action and thriller films (think Men In Black and Star Wars) often feature in Kyriakopoulos' paintings, while at other moment Kyriakopoulos portrays the frenzy of the crowd amid a rollercoaster or car race; scenes which are near-claustrophobic in their over-population and energy. Many of Kyriakopoulos' works contain a feel of impending action, of the event-still-to-come, which is accentuated by his tendency to highlight the positive and negative spaces between image and ground. In his art practice, Kyriakopoulos often favours watercolour or gouache which are meticulously applied. Yet despite the deliberateness of Kyriakopoulos' paintings, the also retain a gestural quality and a sense of movement. Born in 1990, Kyriakopoulos has worked in the Arts Project Australia studio since 2011 and has been included in numerous group exhibitions including ‘Well Red’, Robin Gibson Gallery, Sydney; ‘Melbourne Now’, NGV International, Melbourne; and ‘SMALLWORKS 2014 Art Prize’, Brunswick Street Gallery, Fitzroy. His work is held in the National Gallery of Victoria’s collection. You can see Kyriakopoulos work below, or else head to our shop to pick up an original Kyriakopoulos.
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The Natural Way Interview #3 – Daniel Richardson
For the exhibition The Natural Way — a show which focuses on the individual practices and thoughts of art creation — curator Elyss McCleary spoke with each artist about their process and practice. The following interview is with Daniel Richardson who creates collage works, replicating various images as well as his own image. Elyss and Daniel talked together during the installation of The Natural Way. - Elyss McCleary: I'd like to ask you about some of the selected works from your practice in this show. We are currently installing it still, what do you think? - Daniel Richardson: I like it cause I'm going forward in the future. -- EM: Can we talk about these framed works on the back wall, featuring a variety of different personalities, overlaid with your drawings? -- DR: That's showing before the 1950s. Victoria Allen Richardson fell in love with Dr. David Thomas Richardson. She is a timelord. This is other one is Matt Smith's wife. -- EM: How about this one here? -- DR: That's Dr. Daniel Johnno Richardson - he' s really me in 2049, it's the new future! -- EM: What materials do you like using in the studio? = DR: The paint texta is my favourite. I like collage and I start early in the day. = EM: I noticed in the studio you like to set up your work space in a certain way with research materials, do you enjoy starting like that? = DR: I like images a lot. I like a lot of new piles of work - it is good for some reason for me. I do everything, that's right. = The Natural Way ends 23 November.
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The Natural Way Interview #1 and #2 – Robin Warren & Danny Lyons
For the exhibition The Natural Way — a show which focusses on the individual practices and thoughts of art creation — curator Elyss McCleary spoke with each artist about their process and practice. The following interviews are with Robin Warren – whose gentle yet assured abstract works conjure explorations into colour and layered compositions — and Danny Lyons, who continuously inserts himself into various pop culture scenes in digital works that draw upon internet culture. Interview #1 - Robin Warren - Elyss McCleary: Im going to start of the interview as I have with all the artists involved in this exhibition with a question about you and an action. Was there a time you remember that you first thought I want to make an image of what I see? Robin Warren: I've done representational things, but have sometimes explored an idea just to see what happens. I was pretty good at art in high school, and have been layering things recently. EM: What was it like in the studio in Perth where you made your formative body of work? RW: I went to TAFE and made a lot of work. I heard about Arts project in Melbourne and moved here, first to Preston to be near the studio, then house sitting Hampton, and then finally back near Arts Project. EM: Did you always have a close understanding of colour? RW: My favourite colours are blue and orange, but I use all the colours. EM: How do you like to begin a work? RW: I start in the centre and then work outwards. EM: Has moving to Melbourne and being part of a large collective of artists here at Arts Project influenced or changed the way you work? RW: The textas and materials have made a change in my work — it's where the blending happens. EM: Is there anyone or a few artists that you admire or have had a strong positive impact on your practice? RW: I've always thought music had an influence more than visual arts, in particular the band CREAM. But if I did have to choose an artist of influence it would be Salvador Dali. Interview #2 - Danny Lyons - Elyss McCleary: The works featured in The Natural Way are photos you have made with collage that have yourself pictured performing in them. When did you start making this series? Danny Lyons: I started in 2017. James got me interested in the idea through my I love music. I love music, I love movies and the idea of doing photography has given me the opportunity to express my ideas and about how I feel about it. EM: I'm interested in how you set up these scenarios for the photoshoot? DL: I come to Penny with the ideas in my head, I tell her what the ideas is, and we find ways to transfer it into an image. We put it up and we show everyone. I'm still in the process of evening things out. EM: Do you prepare your set and outfits? DL: Some costumes I've got at home, and some I had to photoshop off the computer with the help of Eden Menta — one of the artists that works here. She helped me paint my face like Robbie Williams from the Let Me Entertain you clips, which was one one of the first ones I did two years ago. EM: Great! Is it fun to do that? DL: I get a lot of enjoyment out of it. Some of the things are funny and happy, like pretending to be Rocky Balboa boxing and Rambo cause I'm a fan of Sylvester Stallone. I find a picture I really like and interests me, and I try to do the poses to match the picture. EM: Tell me about these footy photographs. DL: I'm a big fan of Essendon. I have been since I was little. I always want to see them playing well either in person or on TV. And we came close to the season just gone. It's been almost 20 years since we won a premiership and I'd love to see that happen one day. The picture of Joe Danahoe and me in the coaches box and the press conference — it captures where they go and talk about the game, their thoughts on how well they played what they did right and what they did wrong, and what they hope to improve and make it better, and the steps it takes to win the grand final. EM: How about the image of you and ET, what brought you to create this? DL: Well, I just love the ET movie and I've loved it for so many years. It was the first movie I ever saw growing up and I reckon it's the best work Steven Spielberg has ever done. It was a beautiful friendship, and there were so many people that wanted to be in the picture with ET. I put myself in the picture so now I can be part of the picture too with ET. I really enjoyed doing that.
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Collector’s Corner #6 – Charlotte Day and Kirrily Hammond
- Collector’s Corner presents a series of conversations with avid art collectors, searching for the rich stories and ideas that are woven into their incredible (and enviable!) collections. The collectors we chat with show a boundless support of contemporary art, with their ever-growing enthusiasm entwined with the story and artists of Arts Project Australia. For Collector's Corner #6 we caught up Charlotte Day, Director of Monash University Museum of Art (MUMA). Charlotte was previously an Associate Curator at the Australian Centre for Contemporary Art and part of the curatorium who worked on the Michael Buxton Collection of Australian Art. She's a passionate supporter of the speculative and experimental in art and sees her role as being to bring people, art and ideas together. Charlotte interested in ways art collections can be activated and shared and how we can work with art in the public realm. Not to mention she also curated the group exhibition Let's Dance at Arts Project in 2017. We also talk with Kirrily Hammond who works alongside Charlotte as the Collection Manager at MUMA, as well as being a practicing artist. She was previously employed at Canberra Museum and Gallery, Megalo Print Workshop, Canberra, and the National Gallery of Victoria. She has a Curatorial Masters Degree at the University of Melbourne and a Diploma of Law through the Institute of Art & Law, UK. As Collection Manager at MUMA, Kirrily oversees the installation of art across the various Monash University campuses. Together, the pair have an incredible amount of collecting and artistic wisdom, both from their professional perspectives, as well as acute personal insights. Have a read as they discuss their art epiphanies, working with artists from Callum Morton to Bianca Hester, and the importance of story-telling and personality when collecting artwork. "I WAS VERY EXCITED THAT WORKS BY FULLI ANDRINOPOULOS WERE RECENTLY ACQUIRED FOR THE MONASH UNIVERSITY COLLECTION. I’VE BEEN A FAN OF HER RICHLY COLOURFUL DRAWINGS FOR QUITE A FEW YEARS..." FULLI ANDRINOPOULOS, NOT TITLED, 2015, INK ON PAPER, 11 X 14 CM. - We're curious as to how you first became interested in art? Did you have an art epiphany for instance? Charlotte: I grew up going to galleries but my first love was the old Melbourne Museum’s dioramas which I thought were absolutely magical. When I was ten my family went on a whirlwind tour of Europe and we visited a lot of museums. After university, I went again and I think it was these trips that really cemented my love of museums. I came back and enrolled in the Post Graduate Diploma in Art Curating, as it was then called at the University of Melbourne. This was a new course, and at the time I was unaware that it was actually one of the first of its kind in the world. It provided a broad overview of the museum profession but through it I interned at 200 Gertrude Street where I got to meet artists and get closer to contemporary practice. It wasn’t until I worked on the Michael Buxton Collection, in the late 2000s, that I became involved in an art collection. Kirrily: I guess it’s apt that a very early art epiphany happened while I attended a catholic primary school in New South Wales, where the other kids always asked me to draw Jesus for them! It made me realise not everyone had a natural predilection for drawing. Throughout my career working in museums and galleries, I’ve always gravitated towards caring for collections – I love working with objects and I feel pretty lucky to see how a wide range of artists approach their practice. Monash University Museum of Art Collection contains an incredible selection of works. How would you describe your approach to collecting art for MUMA? What decisions and processes come into play when selecting work on behalf of an institution? Charlotte: When I first came to MUMA I undertook a review of the collection to test the assumptions made about it. We looked at the collection from many different angles: gender, generational, media, subject, topicality etc, and made decisions on what to prioritise accordingly to build up representations and fill certain gaps. This makes the process sound scientific and I do like to have a collecting plan! That being said it is also important to allow for spontaneity and to be able to be responsive to what artists make and in doing that you may not be able to predict. Kirrily: First and foremost, I think the work has to be compelling, and it should be an excellent example of the artist’s practice. In terms of the Monash University Collection, the focus is on Australian contemporary art, so it’s important to be aware of what artists are doing – from studios, artist run spaces, commercial spaces to larger institutions and everything in between! CATHY STAUGHTON, LADY ARTS PAINT PAGE, 2017, WORK ON PAPER, 50 X 49.5 CM. - You both collect art in your personal lives, as well as in your roles at MUMA. What do you love about collecting art and what compels you to collect and keep collecting? Charlotte: I think Kirrily might be more of a collector than I am! The artworks I do have are mostly connected to exhibitions or projects that I have been involved in. When I was an undergraduate student I did acquire two postcard sized artworks by Tony Clark that I am still very fond of. Most recently I acquired a 2D work by Alex Martinis Roe for my daughter. Kirrily: The works that I own were mostly collected due to a personal connection to the artist - whether it’s a swap, or I’ve purchased a friend’s work, or the artist is pursuing similar interests to my own through their practice. Surrounding myself with these works is rejuvenating and inspiring. Is there a particular artwork or artist that you’ve been most excited to collect? Whether in your roles at MUMA or personally? Kirrily: Late last year I oversaw the installation of Kulata Tjuta (2012-14), a significant installation of 277 spears suspended from the ceiling in the university’s main library at the Clayton campus. This is a compelling work that was created by artists from the Tjala Arts centre in the community of Amata in South Australia. Charlotte: A number of years ago I was involved in the collecting of Simryn Gill’s Throwback - Remade internal systems from a model 1313 Tata truck, circa 1985. (2007) for the Michael Buxton Collection. It's an ambitious work that is also rife with inherent vice. So when it was acquired, it was a real sign of the Collections' support for challenging work. At MUMA, in recent years we have focused on work by Indigenous artists with the Kulata - that Kirrily has mentioned - as being one of our most significant acquisitions. We are currently working on a public art project with artist Megan Cope that incorporates languages and sharing of knowledge that we are excited about. A few years back we acquired an instructional performative work by George Egerton Warburton that heralded a new collecting direction for the Monash University Collection. Do you have a memorable art-related experience or moment? Either as a curator, artist or collector? Charlotte: I have so many! Setting up Callum Morton’s three-quarter scale version of his family home as a ruin at the Venice Biennale was thrilling. Working with Bianca Hester on her installation at ACCA, which changed every day across the course of the exhibition, was challenging and liberating. When I first came to MUMA I invited Fiona Connor to make a responsive work to the university context and she made a great project that connected the museum to the collection, the architecture of Monash and the history of display. I have to mention too, Stuart Ringholt’s nude disco which had a profound effect on the museum and its audiences. These are just a few…What I like about MUMA is that it's a museum space with climate control etc, so we are able to loan really significant works to exhibit but it also has the quality of a project space in which we can commission new work and build in situ – hopefully we can maintain a useful tension between these two approaches. Kirrily: In 2005 I undertook an extended period of research in the British Museum’s prints and drawings study room, with open access to a mind-boggling collection, there were many amazing things to study. Leafing through Bellini’s sketch book from the mid-1400s was one highlight. At MUMA we have many school groups visit behind-the-scenes: to be able to facilitate viewing works from the collection and see the looks of wonder on students’ faces is pretty special. What was your first encounter with Arts Project and when did you first start to become interested in artwork by our artists? Charlotte: I think it was Ricky Swallow's involvement with Arts Project, as well as my own interest in a number of the artists that drew me to visit the first time. Arts Project does such a great job of promoting artists and creating opportunities for them to connect with other artists. Kirrily: I was very aware of Arts Project for some time before I had the opportunity to delve deeper into the archive whilst curating an exhibition for them in 2013. It was such an inspiring experience to be surrounded by such a rich collection of work and be in the vicinity of some truly prolific artists. "CHRIS MASON’S NUDE YOGA CERAMICS ARE PRETTY SPECIAL..." CHRIS MASON, RECLINING NUDE, 2015, CERAMIC, 19.5 X 35.5 X 42 CM. - Can you talk about the artworks you have collected from Arts Project? We know you’ve collected works personally, but there was also an exciting recent addition to MUMA’s collection… Kirrily: I was very excited that works by Fulli Andrinopoulos were recently acquired for the Monash University Collection. I’ve been a fan of her richly colourful drawings for quite a few years and being able to acquire a significant group and then immediately put them on display at the university was immensely satisfying. If you were to purchase another Arts Project artwork right now, which artist would you look at and why? Charlotte: A number of Art Project artists’ work is inspired by science fiction and outer space – I’m drawn to those subjects and imaginative spaces! I really like Cathy Staughton’s work, also Chris Mason’s nude yoga ceramics are pretty special too. Kirrily: The drawings and paintings of Warren O’Brien and Rebecca Scibilia are wonderful. WARREN O’BRIEN, NOT TITLED, 2018, WORK ON PAPER, 38 X 56 CM. - And finally, what pearls of wisdom have you learnt about collecting – both from a gallery perspective and as a personal collector? Charlotte: The collections I like the best have personality and stories that connect to them. They follow particular passions or threads and go deep into practice. Kirrily: Avoid collector’s regret – if it’s possible to acquire a work that you are particularly drawn to, go for it - the opportunity doesn’t usually happen twice! This is Arts Project Australia’s fifth edition of Collector’s Corner. Have a read of Collector’s Corner #1 with Clive Scott, Manager of Sofitel Melbourne; Collector’s Corner #2 with Abi Crompton, founder and director of Third Drawer Down; Collector's Corner #3 with Kim Butterworth and Graham Meadowcroft, publishers of Art Guide Australia; Collector's Corner #4 with artist Ricky Swallow; and Collector's Corner #5 with artist Sassy Park. Stay tuned for further editions and feel free to gander through our art collections, as well as find out more about Arts Project Australia’s artists and art. "THE DRAWINGS AND PAINTINGS OF WARREN O’BRIEN AND REBECCA SCIBILIA ARE WONDERFUL." REBECCA SCIBILIA, THE ROYAL WEDDING, 2018, TEXTA ON PAPER, 35 X 50 CM.
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Collector’s Corner #5 – Sassy Park
SASSY PARK IN HER SYDNEY HOME. PHOTO BY OTTO SCHWERDTFEGER. -- Collector’s Corner presents a series of conversations with avid art collectors, searching for the rich stories and ideas that are woven into their incredible (and enviable!) collections. The collectors we chat with show a boundless support of contemporary art, with their ever-growing enthusiasm entwined with the story and artists of Arts Project Australia. For Collector's Corner #5 we caught up with artist Sassy Park. Based in Sydney, Park is currently completing a Masters in ceramics at the National Art School, having previously studied painting at Sydney College of the Arts. Between working at various galleries in Australia and overseas before starting her Masters, she eventually found herself at Darren Knight Gallery in Sydney, where she first became acquainted with Arts Project Australia. Through Darren Knight's philosophy and approach to art and artists, Park found a great match to her own ideas. Her time at the gallery allowed her to meet and find out about a wide range of art practices and practitioners. Arts Project became one of these areas of interest, with new artists to follow and new artwork to engage with. Nowadays, When she's not creating or studying, Sassy spends time with her partner Karl and their three children (not to mention the chickens and cats!). Have a read of our interview with Sassy, where she delves into the intuition behind collecting, how her daughter inspires her practice and why "looking at art is like falling in love." "A life-size ceramic typewriter and script describing a ‘harrowing disaster at Summer Bay’ from the TV soap. It is a masterpiece..." Lisa Reid, TA Adler Contessa 2, 2016, ceramic, 14 x 33 x 33 cm. - We're curious as to how you first became interested in art? Did you have an art epiphany for instance? I grew up in a regional town in Queensland, a bit bereft of cultural pursuits, but perhaps that made it all the more exciting to seek out and buy my first artwork at about 16 years of age from the only commercial gallery in town. My parents, unconventionally for the times, encouraged me to go on to art school, although my father warned me about the boys, having briefly been an art student himself in London. From this background I’ve always loved all aspects of art; the making, thinking, looking, curating, collecting, caring for art and advocating for artists. How would you describe your approach to collecting art? Do you think being an artist yourself influences the pieces you collect? Collecting art is a compulsive pursuit, like any other form of collecting. However, I have always thought that it is far more enriching buying an artwork than say, a pair of shoes. I still use this judgement when I think of spending on something—what would I rather have? This is much easier now as I've taken to wearing Birkenstocks, which leaves even more in the art budget. I am constantly amazed when I walk into people’s houses with barren walls lacking any form of visual stimulus. I suppose I have a need to be surrounded by all the things I love, which includes art. Being an artist maybe makes me more confident about what I think is great and rewarding. I’m also interested in what other artists buy and collect as a reflection and insight into their own work. What do you love about collecting art and what compels you to collect and keep collecting? Being surrounded by and living with art keeps me collecting. Obviously this can become problematic with diminishing wall and shelf space. I do rehang and rearrange occasionally, which is like having a mini curatorial project in your own home. Looking at art is like falling in love. When an artwork hits you, there is a rush of excitement and an impulse to keep it near to you. You keep them in your heart and head as well as on the wall. It’s a continuous dialogue. You think about the beauty and the ideas that arise out of the work, the ideas of the artist, what were they thinking about, how did they go about making it. "More pieces by Ruth Howard would be a goal..." Ruth Howard, Not titled, 2011. ceramic, 14.5 x 9.5 x 9.5 cm. - Generally speaking, which contemporary artist do you most admire and why? Visiting museums and galleries wherever I go has excited and inspired me, but then I am equally in awe of my own children’s artwork: seeing what comes from their imaginations. I was profoundly impressed when my daughter, Lotte, first started making ceramics at the age of eight; how had she combined the two-dimensional painting with the three-dimensional form? She really started me on my pathway in ceramics. Also, artists that show some vulnerability in their work, or come from a personal place, further interest me. Noel McKenna is one such artist, as well as a friend. I continue to admire and fall for his work: the artist and the work are mutually exclusive but also bound up in one another. Do you have a memorable art-related experience or moment? Either as an artist or a collector? After working in galleries, I now really enjoy putting people in touch with pieces that they end up loving and buying. This reinforces my convictions about the meaning and purpose of art as an integral part of life. In recent years, I have had the experience of people responding to my own work. It feels like the tables have turned when I am on the receiving end. It’s a wonderful feeling to receive feedback because as an artist you are embedded in the relationship with the art object. To see them out in the world and having a life of their own is quite strange. Maybe they take a little part of me with them. What was your first encounter with Arts Project and when did you first start to become interested in artwork by our artists? I think I first saw Arts Project artists at Peter Fay’s travelling exhibition Home Sweet Home in 2007, as well as encountering the ceramics of Alan Constable. The work was immediately intriguing and compelling to me. Then it was exciting to following up the artists, visiting Melbourne, and seeing Arts Project exhibitions, as well as representation at art fairs and wider group shows. I try and visit when I come to Melbourne and have curated a show in Sydney with Arts Project artists, Lisa Reid and Alan Constable. I’ve always come away from my contact with Arts Project deeply impressed with their philosophy and passion. "Alan Constable’s cameras work grouped or solo, and I like the connection to ceramics and photography, reflecting my and Karl’s careers." Alan Constable, Not titled, 2016, ceramic, 13 x 18 x 13 cm. - Can you talk about the artworks you have collected from Arts Project? Is there a pride of place where they sit or hang? I like the idea of the mantlepiece as a central focus for the display of objects in the home. This is an area I often arrange with pieces such as Ruth Howard’s Pile or Alan Constable’s cameras. Alan Constable’s cameras work grouped or solo, and I like the connection to ceramics and photography, reflecting my and Karl’s careers. I was thrilled when Karl became enamoured with one of Chris Mason’s ladies, which now sits pride of place on the bookshelf next to the mantlepiece. I also have Lisa Reid’s work TA Adler Contessa 2, a life-size ceramic typewriter and script describing a ‘harrowing disaster at Summer Bay’ from the TV soap. It is a masterpiece but I need a larger area to display it! If you were to purchase another Arts Project artwork right now, which artist would you look at and why? I just realised I have collected solely ceramic sculptures from Arts Project artists, which I suppose is unsurprising. I am always interested in what clay can do. More pieces by Lisa Reid and Ruth Howard would be a goal, and I've seen some shoes Lisa made which I think are great. I like Ruth Howard’s paintings and Alan Constable’s drawings too. I’ve always enjoyed the strong graphic colours of Julian Martin’s pastel drawings and the immediacy of Boris Cipusev’s pen drawings. I am also drawn to works based on contemporary pop culture, which several of the artists make their subject matter. And finally, what pearls of wisdom would you give a first-time collector? Don’t be afraid to go with a gut instinct. It’s worth recognising when something has connected with you, maybe deeply or even superficially, that it is something special. Also buy what you like and what you can afford as this provides the longest enjoyment of an art collection. This is Arts Project Australia’s fifth edition of Collector’s Corner. Have a read of Collector’s Corner #1 with Clive Scott, Manager of Sofitel Melbourne; Collector’s Corner #2 with Abi Crompton, founder and director of Third Drawer Down; Collector's Corner #3 with Kim Butterworth and Graham Meadowcroft, publishers of Art Guide Australia; and Collector's Corner #4 with artist Ricky Swallow. Stay tuned for further editions and feel free to gander through our art collections, as well as find out more about Arts Project Australia’s artists and art.
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Collector’s Corner #4 – Ricky Swallow
Ricky Swallow. Photo by Aya Muto. - Collector’s Corner presents a series of conversations with avid art collectors, searching for the rich stories and ideas that are woven into their incredible (and enviable!) collections. The collectors we chat with show a boundless support of contemporary art, with their ever-growing enthusiasm entwined with the story and artists of Arts Project Australia. For Collector's Corner #4 we caught up with Ricky Swallow, a renowned artist who works primarily in sculpture. Raised in San Remo, and now living and working in Los Angeles for the past 15 years, Swallow initially studied at the Victorian College of the Arts, living and working as an exhibiting artist in Melbourne in the late 90s and early 2000s (during this time he was associated with artist-run initiatives Grey Area Art Space and Rubik, and had a very productive two-year residency at Gertrude Contemporary). These days he shares home-life, and a studio, with his wife Lesley Vance and their young son. As Ricky says, "Lesley is a amazing painter and it’s great to be around such unwavering dedication like that. I think together we’ve made sense of our roles as artists." Ricky has long been a great supporter and friend of Arts Project's and in 2016 he curated a sell-out show of Terry William's soft sculptures at New York's White Columns. Read below as Ricky tells us about how he encountered Arts Project, how collecting art can tell us things about ourselves and how being an artist is somewhat akin to the act of a cat pooping! "Really precious ceramics..." Terry Williams, Not titled, 2009, ceramic, 8 x 6 x 3 cm. - - Could you tell us about when you first met Arts Project Australia? That’s tricky because I was aware of Arts Projects when I lived in Melbourne—via a guest lecturer at Victorian College of the Arts—but it wasn’t something I was really looking into at that stage. When Alex Baker was a curator at the National Gallery of Victoria we became friends through a show I did in 2009, and he started putting certain artists from Arts Project onto my radar, via his enthusiasm and the projects he was planning with you guys. Alex eventually went to Fleisher/Ollman in Philly (John Ollman, the owner of Fleisher/Ollman, is obviously legendary in the field of self taught art and a lightning rod in putting so much of it into the culture here in the states), and perhaps since Alex has been there I’ve been able to see certain things that made me realise I needed to take a closer look. I visited Arts Project in 2013 and again in 2014 and at that point I was starting to talk to Sim (Arts Project Manager and Curator) about projects I wanted to curate and also collecting a few artists... And then somewhere in the middle was the small show I organised for South Willard of Alan Constable’s camera sculptures! _ We're curious as to how you first became interested in art? Did you have an art epiphany for instance? I’m not sure if you mean collecting art or making art? My grandfather on my mothers side was a huge factor—a real Bricoleur and Sunday painter—along with my grandparents who collected small things (more like crafts and small sculptural souvenirs from travel), and that was actually the first instance of being exposed to collecting, curating and also displaying I think... My grandfather posed this question, "What is the artists role? What do they do?” As a kid I answered I wasn’t sure. So he said, “What does the cat do when he climbs my fence at night and shits in my garden? What is he doing?" My grandfather answered, “He’s leaving his mark, and that’s what artists do. Leave their mark.” It's still the best explanation anyone has offered me perhaps! "There's something very aggressive and also very generous to the images and language he's building. It's asking a bunch of interesting questions about the very nature of picture making, I think." Samraing Chea, Universal vision of the Entire Space, 2015, pencil on paper, 18 x 19 cm. _ _ How would you describe your approach to collecting art? Do you think being an artist influences the pieces you collect? I think my approach is basically to try and be true and trusted in your attraction to an artwork. It’s hard to turn off outside influence or a kind of ambient buzz toward certain things, but that’s collecting for the wrong reasons. Being an artist and being married to an artist obviously effects things. What I’ve learnt is that living with a great or mysterious artwork can be very generative—certain artworks can literally cause the creation of a certain work in one's own practice, or present a problem-solving mechanism—a freedom, or perhaps a dose of colors that you yourself would not normally permit into your practice. So collecting is not just about amplifying an interior or seeming to have a certain taste. It’s part of a bigger creative process. - What do you love about collecting art and what compels you to collect and keep collecting? At a really basic level I love waking up and looking at this stuff, or coming home from the studio to artworks which now seem like permanent fixtures in our house (we hang very little, if any, of our own artworks at home). There’s also an addiction or habit to it—to try and collect a perfect grouping of one artist in which each piece is either in synchronicity, or tells you one specific thing about the artist, or how it can be a diverse group which signals different worlds of interest for the artist. There’s always an artist you haven’t been exposed to and sometimes I like how the juxtaposition of different works creates an unexpected connection. This is something that’s obviously not accidental, but it’s interesting how it occurs. What we collect can tell us a lot about ourselves, I think—I’m always shocked and a little suspicious of those with no collecting habits! - Generally speaking, which contemporary artist do you most admire and why? That's really impossible to pin down! What has been nice through a few curatorial projects I've done is getting to know artists with multiple decades of working under their belt—there's something deep there to admire in just persisting as an artist and walking into a room for 40-50 years every day and setting to work with materials and contributing to the world of objects in such a specific way—finding your own way of doing things and not compromising and getting through some sleepy decades without losing faith. Ron Nagle is an artist I really admire in this regard and also Magdalena Suarez Frimkess, both of whom I'm happy to count as friends too. From these artists I've learnt a great deal about stubbornness and the importance of humour as necessities to always keep moving things forward—and the powerful authority of the domestically scaled object! - Part of Ricky's Arts Project Collection. Alan Constable, Not titled, 2010, ceramic, 14.5 x 29 x 12.5 cm. - Can you describe your best art experience for us? I can describe a recent one that's really fascinating to witness, and that's our son's recent awakening, or daily commitment, to drawing and mark making. He's four now and I feel like it's been important for me to always put materials in front of him—things like sculptural-drawing and painting tools. It's really been in the last couple of months that he's started making drawings which follow some strange internal logic—a world I just could never access. And when he's making them he's really in the zone and I like to just step back and watch it happen. It's not even as simple as this, as if it's just a middle earth between abstraction and figurative logic creeping in. It's a weirder place than that and I have this feeling it's a small window of image making that is momentary and important. - When did you first hear about Arts Project and first encounter artwork by our artists? It's hard to pin point the actual time of the encounter. I want to say in my early 20's when the collector Peter Fay from Sydney was showing me his collection—he had been collecting works from Arts Project that he was excited about. And I mentioned Alex baker already, who connected me more specifically to some of your artists. But perhaps the most meaningful encounter was visiting in 2013 because that was a full tour with time to really see the facilities, meet some of the artists and actually handle and experience the works close up. I think I left with a box of works to bring back to LA! - Tell us about the artworks you've collected from Arts Project. Is there a pride of place where they sit or hang? On our fireplace mantle we have a pair of smaller cameras by Alan Constable, a group of really precious ceramics by Terry Williams and a series of small ceramic stacks by Ruth Howard. So it's specific in that it's one row of objects entirely from Arts Project. There was a ceramic by Alice Mackler with them, but that's recently been moved. The stacks by Ruth are of specific personal appeal because they were something that Lesley really responded to when we visited again in 2014. I'm more of the accumulator in general, so when Les takes the lead it's always exciting and very specific, and I think from a painterly perspective she thought they were great—kind of perfectly resolved still-life-type objects. When you look at them you can kind of participate in their making in your mind, or understand some kind of necessity to their building gesture. - "When you look at them you can kind of participate in their making in your mind, or understand some kind of necessity to their building gesture." Ruth Howard, Not titled, 2013, ceramic, 10 x 12 x 10 cm. - - If you were to purchase another Arts Project artwork right now, which artist would you look at and why? A good question because I literally just purchased a work in the recent week! It was a drawing of Samraing Chea from the show at ReadingRoom, curated by Matlok Griffiths and Rob McHaffie. I had a group of Samraing’s pieces after finding the work via Matlok a couple of years back, as he had collected a couple of drawings. But to see the new ones was kind of amazing as I feel like some of the narratives had become less like isolated worlds and more of a mirror or visual response to current political turmoils. So the drawing I chose of Samraing's adds a very different element to the small collection I now have. There's something very aggressive and also very generous to the images and language he's building. It's asking a bunch of interesting questions about the very nature of picture making. - And finally, what pearls of wisdom would you give a first-time collector? If an artist tells you you should check out another artists work, it normally means you really should check it out. Think about collecting not just as attaining or owning something great, but also (in most cases) putting resources back into the hands of the artist that created the thing. Try to hold out for the thing that really resonates with you. Main meal stuff, and less snacking. - This is Arts Project Australia’s fourth edition of Collector’s Corner. Have a read of Collector’s Corner #1 with Clive Scott, Manager of Sofitel Melbourne; Collector’s Corner #2 with Abi Crompton, founder and director of Third Drawer Down; and Collector's Corner #3 with Kim Butterworth and Graham Meadowcroft, publishers of Art Guide Australia. Stay tuned for further editions and feel free to gander through our art collections, as well as find out more about Arts Project Australia’s artists and art.
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Artist Spotlight: Bronwyn Hack
Artist Bronwyn Hack in the Arts Project studio. Bronwyn Hack’s artwork hints toward melodrama, fictionalised scenes, tactile creations and bodily formations. In recent years her work has been characterised by an interest in animals (particularly wild and domestic dogs) and an avid preoccupation with bones, as well as the observable and hidden parts of the human body. Having worked from the Arts Project studio since 2011, Hack is becoming known for her multi-faceted practice which spans sculpture, painting, printmaking, ceramics and 3D art. At the centre of this practice sits her recent soft sculpture works that reinterpret singular elements of the body. “I’ve always been interested in the body,” explains Hack. “I’m interested in the different shapes and all the body parts and where they go.” Hack has been regularly exhibiting her soft sculpture, with her two-part work The Body Piece currently showing at Bundoora Homestead Art Centre. Shortlisted for the Darebin Art Prize, the sculpture faithfully depicts reinterpretations of male and female private parts. Bronwyn Hack, 2017, The Body Piece, soft sculpture. Image courtesy of Darebin Art Award and Bundoora Homestead Art Centre. Hack was also one of five Arts Project artists curated by Anthony Fitzpatrick, curator at Tarrawarra Museum of Art, into the group exhibition Faraway, so close. During the show, which took place towards the end of last year, Hack worked in close collaboration with Gosia Wlodarczak and Terry Williams to create A Room of Haptic Knowledge. Hack’s contribution was a series of body parts including eyes, lips, intestines and a brain. Faraway, so close - installation image. Bronwyn Hack soft sculpture along Gosia Wlodarczak drawings. Photo by Kate Longley. Now 2018 is promising to be an even more fruitful year for the artist. Her printmaking work is appearing in group exhibition Under Pressure (opening this Saturday 3 February) and her artist zines will be on display, and available for purchase, at the upcoming Festival of the Photocopier Zine Fair on Sunday 11 February. Not to mention in June this year Hack will commence a residency at the Australian Tapestry Workshop, where she’ll continue work on her soft sculpture body pieces. This transformation marks an acute development from Hack’s earlier work, which often focused on scenes of attraction featuring fictionalised characters and personas drawn from her imagination. When asked about her process and her move towards soft sculpture and body-based works, Hack explains how she often decides every Monday what she will create for the rest of the week. “I get ideas from the internet, books and what I see and I’m looking at body photos” she says. “I just know what to do when I’m doing it, and what colour and shape to use.” Our Artist Spotlight series highlights the practice and ideas of Arts Project studio artists - stay tuned for more spotlights! Bronwyn Hack working alongside Gosia Wlodarczak and Terry Williams for 'A Room of Haptic Knowledge' as part of 2017 exhibition 'Faraway, so close'. Photo by Kate Longley.
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Collector’s Corner #2 – Abi Crompton
AA Collector’s Corner presents a series of conversations with avid art collectors, searching for the rich stories and ideas that are woven into their incredible (and enviable!) collections. The collectors we chat with show a boundless support of contemporary art, with their ever-growing enthusiasm entwined with the story and artists of Arts Project Australia. For our second edition of Collector's Corner we caught up with Abi Crompton, founder and Director of Third Drawer Down. Established in 2003, Third Drawer Down is an innovative company that specialises in creating limited edition art products, featuring the works of Australian and international artists and designers (think Ai Wei Wei, David Shrigley, Jon Campbell and Frances Cannon among many others). We recently had the great fortune of collaborating with Third Drawer Down (alongside the National Gallery of Victoria) to produce Australiana: a series of merchandise featuring the work of Arts Project artists, creating everything from Sidney Nolan-inspired hip flasks to Hey Hey It's Saturday! cooler bags. Read below as Abi tells us about her current "art crushes", collaborating with Louise Bourgeois and how collecting is about the personal connections she makes with artists and art... Abi Crompton posing as a banana for Arts Project's 2014 exhibition 6 Degrees of Separation. Thanks for taking the time to talk with us. Can you tell us about how you first met Arts Project Australia? I was introduced to Arts Project when Bronwyn Johnson was the Director of Melbourne Art Fair, and she told me I should buy an Alan Constable camera. I went to the Arts Project stand and fell in love. Later, while eating sushi on the stairs at the Melbourne Art Fair and pining over how I could collaborate with Arts Project, I somehow happened to be sitting next to Sue Roff who was stuffing envelopes. We started to chat and an art-love affair began! We're curious as to how you first became interested in art? And how did this interest link with founding Third Drawer Down? I become interested in art while studying psychology in my early twenties. I completed this degree and then put together a portfolio and studied fine art for five years, as I realised I was more 'left brain' than 'right brain'. I do feel like I use all parts of my brain now though, especially as working with artists to develop objects requires empathy, understanding and creative processes. How would you describe your approach to collecting art? Or, even better, what kind of collector are you? I collect art the same way I work with artists: visual impulse and appreciation of an artist's values. My collection is mainly based upon the artists I have a relationship with, as their story is apart of my story, and the story of Third Drawer Down. Generally speaking, which contemporary artists do you most admire and why? Is there someone in particular who’d be your dream to collaborate with one day? I have so many artists I admire. If I had to pick them today, I'd say David Shrigley, Yayoi Kusama and Guerrilla Girls. All of them have their own unique way of communicating the currency of our current times. It's the 'right now', either through politics, humour or beauty. My dream collaborations include Cindy Sherman, Barbara Kruger and Kerry James-Marshall. Can you describe your best art experience for us? Or perhaps a great Third Drawer Down moment? My favourite collaborations... hmm. Well, there are a few and they all carry amazing stories as I've met such remarkable people through collaborating with them. While I have told this following story a few times, it still remains vividly in my mind: I have always had a major “art crush” on Louise Bourgeois and a few years ago Tate in London invited me to meet and discuss working together on projects. The day before the meeting, I walked around Tate with my notebook listing all the artists I have dreamed of working with: quite a list if I don’t say so myself! So there I was, sitting in the meeting the following day and the Tate opened the dialogue with the forthcoming Louise Bourgeois project, and I jumped in head first, telling them about my list of artists and my personal list being headed by Louise Bourgeois. My meeting folk looked at each other and slid a folder across the table, saying, ‘”Well Abi, it is Louise Bourgeois we want you to work with!” How is that! I was so buzzed out, she so rocks my world and I couldn’t believe my fate in this scenario. This was the first major project with a museum and the beginning of the Third Drawer Down Studio. During the fantastic project, I met Louise while in New York and she signed the prototype handkerchief we were developing. It reads: “I HAVE BEEN TO HELL AND BACK. AND LET ME TELL YOU IT WAS WONDERFUL”. Describe the artworks you have collected from Arts Project. Is there a pride of place where they sit or hang? I have collected works by Paul Hodges, Lisa Reid, Terry Williams, Alan Constable, Patrick Francis and Peter Cave. They are the proudest artworks I have in our home and they take over the entrance hall and lounge room. My most cherished is the painting Peter Cave created of me dancing in a banana suit! In 140 characters or less, distil for us what it is you like about being a collector and friend of Arts Project? I love everything Arts Project stands for – the artists and the team that make the magic happen, and the community that supports this. It's more family than organisation. If you were to purchase another Arts Project artwork right now, which artist would you look at and why? I would buy more Laura Sheehan. Her recent solo exhibition at Arts Project was so wonderful. Her lively, colourful and whimsical paintings of soft-toys-pastiche rocked my world. We were fighting over them at work when the invite was sent! And finally, what pearls of wisdom would you give a first-time collector? Buy from the heart. Art should be about your experience to it, not what others tell you to feel. This is Arts Project Australia’s second edition of Collector’s Corner. Have a read of our first edition with Sofitel Melbourne Manager Clive Scott. Stay tuned for further editions (coming very soon!) and feel free to gander through our art collections, as well as find out more about Arts Project Australia’s artists and art. "My most cherished is the painting peter cave created of me dancing in a banana suit." Peter Cave, Abi in a banana suit, 2013, work on paper, 76 x 56 cm. Artist Peter CAVE creating his Abi-Crompton-Banana masterpiece. "Her recent solo exhibition at arts project was so wonderful. her lively, colourful and whimsical paintings of soft-toys-pastiche rocked my world." Laura Sheehan, The song til the end, 2015, work on paper, 39.5 x 54 cm. AA Another one from Abi's collection: Lisa Reid, The Kylie collection, 2003, work on paper, 34 x 28.5 cm.
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Artist Spotlight: Bobby Kyriakopoulos
Bobby Kyriakopoulos is both a painter and digital artist whose work traverses the scenes of carnivals and public events, underwater and above-water landscapes, cultural appropriation and an interest in film scenes, particularly the blockbuster-heroic-male - which often contains anxious undertones. Figures such as Wonderwoman, historical persons and characters of action and thriller films (think Men In Black and Star Wars) often feature in Kyriakopoulos' paintings, while at other moment Kyriakopoulos portrays the frenzy of the crowd amid a rollercoaster or car race; scenes which are near-claustrophobic in their over-population and energy. Many of Kyriakopoulos' works contain a feel of impending action, of the event-still-to-come, which is accentuated by his tendency to highlight the positive and negative spaces between image and ground. In his art practice, Kyriakopoulos often favours watercolour or gouache which are meticulously applied. Yet despite the deliberateness of Kyriakopoulos' paintings, the also retain a gestural quality and a sense of movement. Born in 1990, Kyriakopoulos has worked in the Arts Project Australia studio since 2011 and has been included in numerous group exhibitions including ‘Well Red’, Robin Gibson Gallery, Sydney; ‘Melbourne Now’, NGV International, Melbourne; and ‘SMALLWORKS 2014 Art Prize’, Brunswick Street Gallery, Fitzroy. His work is held in the National Gallery of Victoria’s collection. You can see Kyriakopoulos work below, or else head to our shop to pick up an original Kyriakopoulos.
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