A lifetime of working with clay provides you with an ease of association and a comfortable familiarity that greatly helps with confidence at the beginning...
I’ve always had a fascination with America, especially through its literature, reading Burroughs, Kerouac, and my favourite, Hunter S. Thompson. I studied art in New...
Media and techniques juxtapose the technological/visual in terms of photography and the material/tactile in textile techniques. The dynamic relationship and binary tensions resulting from combining...
I’ve been hypnotised by drawings for as long as I can remember. My eyes are curious, always scanning the shapes of things, tracing repeat patterns...
My upcoming show, at Nicholas Thompson Gallery in Melbourne, is a presentation of new paintings that explore the sensation of luminous colour with a focus...
The title Plant Your Feet comes from a poem, Bloom, by poet, Gunai woman, Kirli Saunders: Plant your feet like roots next to mine. Bloom...
The subject of my paintings is often very personal, but I approach it with a sense of vagueness, allowing the materials to inform the work....
Our practice plays with the changing nature of cultural capital by pitting the sacredness and precariousness of the “live” in performance against ways of commodifying...
During my last years of art school, at a critical point in my studies, on the verge of establishing my practice, a respected lecturer and...
Some of my earliest memories are of the landscape. I moved around a lot as a child – six cities, ten houses and six schools...
In 2011, George Gittoes and I were invited to speak at the World Conference on Artistic Freedom of Expression at Oslo about the Yellow House...
As a girl, I was fascinated by my mother’s hands. I would trace their veins and tendons with my fingertips, following them like roads on...
Joe: For our AP piece let’s try an email exchange. It has to be about our process. I think failure has been instrumental in shaping...
Although now based in Melbourne, I spent my childhood on the Central Pacific Ocean island Banaba, part of the nation of Kiribati. In between bouts...
In Issue 39, Idris Murphy enlightened us on the art of the heliograph – a lesser-known part of his practice and complimentary process to his...
In Issue 43, Peter Hudson wrote about his artistic journey from childhood to the present.
In Issue 42, 2018, Canberra-based artist Hannah Quinlivan spoke about her complex methods of making in the expanded field of drawing.
Sydney artist Kai Wasikowski chats about the raft of ideas, inspirations and processes driving his photographic practice.
In the first week of a three-month residency, Lucy O'Doherty discusses her aims for her time at the Cité Internationale Des Arts, Paris.
In Vietnam I strived to learn the language as often as I can: it helped me to see, think and feel from an alternative perspective.
“A wind is sweeping away my life. I close my eyes so I don’t see you leave. Somewhere night is falling, don’t cry, it’s OK....
It is a wildly decadent and egotistical thing to do, expecting people to connect with these things that you’ve created. It’s a very personal process.
Reflecting back on some road trips and dreaming them up in the subsequent months can be like reliving a favourite film or book...
Evan Salmon explains his attachment to ships and industrial buildings, and the colour arrangements that emerge in his practice.
My name is Matthew Clarke and I was born in 1986. I live in a wooded hamlet near Warrnambool in south-west Victoria.
