Describe the IDEAS behind your work short-listed for Top Arts.
I wanted to show the continuous variety of beauty in the detail of nature. I believe that nature is the basis of both conventional beauty and completely original designs. That all you need to do is look closely, which is what my art is doing. I wanted to take elements of nature out of context, to appreciate their beauty for simply that. This created seemingly abstracted surfaces, strongly founded on the perfectly formed and often overlooked detail of nature.
What were your starting points? Where did your inspiration come from?
My starting point was the natural world that has a place in our everyday life. I took close up photographs of details which surround me – the dynamic contrast and pattern of the bark of a tree, just metres from our art room.
What media/materials did you select and why?
I used a vast range of experimental materials to achieve rich, evocative surfaces. Wax, cell mix glue, impasto, crackle medium, textile medium, acrylic, liquid tempera and shellac were used to create dynamic and unusual textures. It brought out the strong contrasts between the black and white sections of the painting as well as imitating the alluring texture of the tree. The materials added depth to the work in the way the light is able to play with the surfaces.
How did new technologies influence your ideas or working methods?
A digital camera allowed me to capture the detail of nature close up. I worked from my chosen photographs for the fundamental composition and textural qualities without performing any digital manipulations, the photographs being reference points. They allowed me to explore many different compositions without it being time consuming.
What challenges/difficulties/discoveries did you encounter in producing your work?
I had underestimated the time and layering involved in creating an abstract work, and how the building up of a surface is needed for impact. It surprised me to find that sticking to the photograph’s detail was not enough for the rich abstracted effect that I wanted. I found it difficult at first to be brave enough to step away from the photograph and risk new ideas, such as the addition of shapes of rich earthy colours into the paintings. This learning helped me enormously.
What influences from other sources were significant in the production of your work? For example: other artists, literature, media, historical or political events. How did this impact on the development of your work?
Artists across literature have often shared this vision of beauty in humble nature and simple appreciation. Yet there wasn’t a specific source which influenced my explorations. My focus was always the aesthetics in front of me.
What resources did you access? For example: libraries, galleries, newspapers, magazines, art programs, websites, films, events and performances? Please list the most important ones.
What exhibitions did you see in 2007? Was there a specific exhibition that influenced the development of your ideas and working methods?
The Aboriginal art of the Flinders Lane Gallery inspired my explorations in their striking use of pattern. Simplistic designs were given meaning and their use of paint was rich. These Aboriginal paintings also inspired the large scale use of the designs in my works.
Did you see Top Arts: VCE 2006? If so, what was your response?
What immediately struck me was just how professional every work was because the students believed they were artists and what they had to say was important. I was particularly impressed by the abstract paintings, because of the rich effect the layering of brushstrokes brought; the added depth and obvious perseverance.
Did you refer to the NGV website – www.ngv.vic.gov.au/toparts ?
How relevant or useful was this site? List any other sites you found useful.
I didn’t refer to the website because my own explorations were driving my work from an early stage. At the time I didn’t want to get sidetracked with the ideas of other people. I didn’t want to be disheartened by seemingly unrealistic final products, but to focus on my own aims and process.
Discuss any ethical or moral issues or concerns evident in your work.
My comments on nature explore our own lives and how we overlook nature’s beauty in its smallest forms. We are often too busy to realise the simple things in life, and the detail that can add much richness. My work comments on the fact that we spend too much energy searching for things, when in reality beauty is ever present.
Did you consider presentation and conservation issues in the process and production of your work?
The surfaces of my work are complex; cracking and lumpy. The loose parts of this surface were removed and this instability adds a spontaneous quality which heightens the effect of weathered and rustic bark. Shellac and cell mix glue have helped to preserve this delicate surface.
What advice would you give to students undertaking Art or Studio Arts?
Enjoy your explorations and never forget what originally inspired you. Make the most of your time, especially early on.
What were the highlights of your art studies in 2007?
Achieving abstract works was incredibly rewarding because it pushed my own boundaries, gaining confidence in my own aesthetic choices. The opening of the school art exhibition was an exciting culmination of a year’s creativity and toil. It was an evening where we could sit back and observe with pride, where my class mates and I felt like true artists.
Are you planning to pursue a career in the arts? What will you be doing in 2008?
I am committed to keeping creativity as part of my life, regardless of my ultimate career, which I am unsure of at the moment. In 2008 I will begin an Arts/Visual Arts double degree at Monash University.
