Say hi to Jasmine Mansbridge

Where did you grow up, and what was it like?

I was born in Brisbane, and my family moved every couple of years. Eventually, we settled in Katherine in the Northern Territory, where I lived until I was 26. 

My father was a teacher, so I had a variety of regular school and alternative education and home school experiences. Overall, I found it hard to sit still and was often in trouble in High School.

I left pretty early, higher education in Katherine was not the focus for most people. I got married when I was 17 and had my first daughter when I was 18. This was when I started doing my art with some focus and intensity. Starting a habit of painting at night that has not ever really left.

What do you do, and how did you get into this industry?

I am a painter and also more and more working with large scale and installation work. By being so obsessed, I couldn’t do anything else.

What does a typical work day look like for you?

I am travelling a bit to paint and organise projects etc., so I have a big picture routine to deal with. I am in the studio or the kitchen mostly, cooking and preparing for my absence and painting for shows etc. which I can’t do when I am on the road. I have five children, the younger three only left at home and it is a very full life to keep it all going.

 What have been some of the biggest challenges in your career?

Lack of finances, my own feelings of parental guilt and the mental load, other people not understanding my big picture, fear of failure, tiredness!

Best creative memory?

I am on a high every time I sell work and know I can make something I want to happen. Proper highs though would be New York Art Fair, painting in Hong Kong and in Beijing. I love that awful yet alive feeling of being out of my comfort zone.

What do you love best about your job?

That it is just me being the best version of me.

What do you get up to when not working?

Parenting, running, looking at art, bushwalking, but my art takes most of my time, and that’s ok. Everything is generally in some way related to the work.

What’s on the horizon for the future?

I have said yes to many things this year, so the next big thing is London, then an exhibition in August opening at 19 Karen Gallery. I am travelling to paint with Schools in Ethiopia! Many things plus more I will no doubt decide to squeeze in!

If you had any creative business advice, what would it be?

Do you bookwork/tax even well before you make money. Be prepared to work harder than you would at any other job. Back yourself. Get out of your comfort zone, do the things that make you want to throw up.

If you could be anyone else for a day, who would it be and why?

I would happily take some of Angelina Jolie's staff. Make clothes and pick Vivienne Westward’s brain and have coffee with Patti Smith!

Tips for applying for a residency

So you have found one or even a few residencies that you would like to apply for. Now you have to stand out from the crowd. You need a way to make your application prominent — which has nothing to do with how pretty the font is. Here are some ideas that might help.

1. Research artists who have previously been to that residency.
Look at as many as you can. What is similar about these artists? Do they all create new, very unique work? Do they focus on conceptual ideas? Is the work large or small? Do they focus on technique?

Why do this? Because you want to present work that is in keeping with or is a good fit for this residency. By that I don’t mean that you should change what you do, but you want to carefully select images of your work that relate to the residency. Since you were attracted to a specific residency, it probably already suits what you do. But be strategic about the images you include in your application.

Ceramic work by Sally Walk

2. Have professional photos taken.
I can’t stress this enough. If you are not able to take them yourself, get a photographer to help. If your work is two-dimensional, make sure the images are square and no frames are in the image. Take the photographs in natural light for the best effect. If your work is three-dimensional, use a plain neutral background and make sure the work is well lit. You'll also want a good headshot with your work in the background, and an image of you at work. Some residencies, especially in Asia, do require a headshot. If the added expense is an issue, get creative. For example, I swapped an artwork for a photo shoot and we were both happy. Now I have learnt how to take great photos and can do it myself. Aim to have 5 to 10 great images.

3. Write an artist statement.
Many of us (myself included) hate writing these, but they are usually required for residency applications. An artist statement is basically just a general introduction to your work: a couple paragraphs about your work's basic concept and how those concepts are presented in the artwork. Be genuine and don’t use too much over-the-top art talk. (You all know what I mean.) Look up the statements of some of your favourite artists to get ideas for how you might approach your own.

4. Write a proposal.
Almost all residency applications want to know what you plan to do. This is where you can stand out. Be sure to check if there is a theme or idea that you are required to address. These are usually very broad and can easily be adapted to any artwork you create.

Your proposal should be realistic about what you can achieve in the time you have. You are not expected to work 24/7. Stick with what you know, as materials and equipment can be quite different in a foreign country. Always factor in time for exploration and design. Experience has taught me to allow the place I am in to influence my creative process, so my work at each residency has changed and evolved over time. This has been such a valuable way to avoid stagnating as an artist.

Be specific in your proposal. Instead of saying 'I want to create a new body of work', say 'I want to create three large sculptures (approx. 50 cm each) and a range of smaller sculptures inspired by the textural qualities of French architecture.' This is vague enough to allow you to create anything, but specific enough to give you focus.

Packing the kiln with artists from India, China and the United States

5. Check your application for consistency.
For example, your images should relate to your artist statement and your proposal.

6. Include a resume.
Your resume should be concise and clearly organised, with subheadings like:

Personal details (including website and social media links)
Education
Group exhibitions
Solo exhibitions
Juried exhibitions
Publications
Awards
Professional Activity
Collections

7. Clarify any questions.
If you are not sure about anything on the application, email the residency and ask questions.

8. Proofread.
Proofread, proofread and then proofread again. Then get someone else to proofread your application.

Sally Walk is a ceramic artist. She holds a Bachelor of Art (Ceramic Design) and a Post Grad Diploma of Education. She has been working in clay for more than thirty years and creates sculptural work in stoneware and porcelain clays. Sally has attended twelve ceramic art residencies all over the world and has held six solo exhibitions and more than thirty group exhibitions. She was selected to exhibit at the Tokyo Art Fair in Japan, Art Melbourne, and the Florence Biennale in Italy, where she was awarded the ‘Lorenzo il Magnifico’ first prize for ceramics. For more about Sally, visit her website or follow her on Instagram (@sally_walk).

Photograph at top: Workshop in the streets of Wanju, South Korea

CWC Spotlight: Rhonda Pryor, visual artist

Last month we introduced a new monthly feature in which we profile one of our amazing CWC members. Following from our interview with long-time member Louise Jones, we thought it would be fitting to turn the spotlight onto a brand-new member. We hope you’ll love learning about Rhonda Pryor, her work and her creative path as much as we did!

What do you do or make?

I make 2 and 3D artwork and installations in which used textiles are often a feature. My work always relates to memory in some way, and sometimes I include photography in the mix somewhere. I find memory a limitless source of possibility. I also teach workshops.

What was the path you followed to doing what you do now?

I originally trained in fashion design, worked in the industry for several years, and then studied painting and photography at the College of Fine Arts (now UNSW Art and Design). It wasn’t until returning to university to do my Masters of Fine Art that my choice of medium changed (or, more accurately, returned) to textiles. It was then I found my interests really lay in ideas of time, and how we interpret memory. Textile is the perfect medium for this.

What does a typical day involve for you?

After duly processing and dispatching the family, I generally do a bit of email catch-up in my pyjamas before getting some exercise out of the way. Family admin follows, and then I’ll typically re-jig my to-do list and get down to writing (proposals, workshops, etc.) or continue working in the studio on whatever I’m involved in. I tend to get bogged down in research but once I’m in studio mode it’s hard to stop. I find it difficult to manage studio time, teaching, admin and all the other stuff that goes along with running an art practice. Somehow it all gets done, though. Evenings are generally taken up with family stuff but I do tend to continue with some writing, research or studio work in between.

What have been one or two favourite recent projects or commissions?  

I had the most amazing residency in Japan in 2016 (funded by a grant from the Australia Council for the Arts), learning about indigo, shibori dye methods, silk harvesting and making, and antique Japanese textiles. It really resonated with my practice of employing used fabric into my work, sifting through notions of memory and personal and cultural value.

Detail of Armchair Critic, by Rhonda Pryor

What’s the biggest lesson you’ve learned in your work? 

Not trying to be perfect. In fact, I’ve learned to value imperfection more and more. I’ve always loved wonky, odd or mismatched things. Now I have an outlet for it! In any case, trying to be perfect only clams you up, stifles your creativity and makes you a miserable stress-head. Use your mistakes as a method of discovery, another way to do things, a different direction, a new product…

What are your plans for the future?

I’d like to manage my time better so I can spend more time making in the studio. I’m always looking for time management tools to help in this regard. After much trial and error, I think I’m at last getting some procedures in order that (thankfully) work for me and my lifestyle. I’m also working toward more exhibitions and artist residencies.

What are you or have you recently enjoyed...

...watching?   The Crown, The Handmaid’s Tale. Completely sucked in.
...reading?   Working Class Man, Working Class Boy, Alone in Berlin, The Last Girl. I lean toward nonfiction, or fiction based on reality.
...listening to?  Radio National interviews. The radio is always on, unless I have serious thinking to do and need silence to hear myself think. My husband has the most amazing musical ear so we have lots of styles we listen to, but in the studio it’s Radio National.

Can you list for us your top resources across any media for creative inspiration? 

In print media, Selvedge Magazine. Online, it’s Trend Tablet, Garland Magazine, Hiut Denim’s newsletter. All full of inspiring stuff.

What drew you to become a member of CWC?

I wanted to mingle with like-minded individuals with a view to possible collaborations, expanding my profile and gathering business tips and ideas.

What is the best advice you have ever received, and what is the one piece of advice you would offer to a young artist, maker or designer?

Mistakes are learning tools. Learn from them and find a way to use them to your advantage. Also, trust your own judgment. If you believe it’s good, it is. It’s your vision, not someone else’s. That said, always be receptive to constructive criticism. You can choose to reject it but always listen. Listening is underrated.

To learn more about Rhonda and her work, visit www.rhondapryor.com and www.rhondapryor.wordpress.com.

Phoebe Miller is a member of the CWC Board. Her professional background covers experience in marketing and communications for the corporate, arts and not-for-profit sectors. She also ran her own creative side project, designing and making accessories under the moniker Simply Phoebe. Follow her on Instagram (@simplyphoebe).

How to apply for a residency

I completed my Bachelor degree in 1990 in Ceramic Design and spent my first year post-uni as a resident artist at the Meat Market Craft Gallery in North Melbourne. I left clay for some time after that when family became my focus and have only seriously returned to ceramics in the last ten years. When I first returned, I found it quite difficult to find my place in the world of art. I entered competitions and applied for galleries and was repeatedly knocked back.

I decided that I needed something more substantial on my resume. I had read about other artists doing residencies. I wanted to gain a broader overview of my art form, see what other artists were doing in clay. I felt passionate about taking time out, away from the distractions of the day-to-day to focus solely on my art.

As many of us know, the minute you have children, personal space and time vanish into thin air. But my two children were now old enough to cope without me for a few weeks… surely.

I began researching art residencies. I was looking for a supportive environment that would allow me my own space and time to develop new artwork. For my first residency, I ruled out any that required me to present a workshop or talk. At first, it seemed like a daunting prospect and the usual doubts reared their ugly heads: Am I too old? Am I good enough? Am I fooling myself? But the most difficult question was, how am I going to tell my husband that he is not coming with me?

Before applying, I scrutinised each residency's web page and looked up artists who had previously attended. I was looking for a professional standard; I wanted to make sure that the residency attracted high-calibre artists and was run in a professional manner.

I decided to apply for AIR Vallauris, a ceramic (and now other art media) artist-in-residence program in the south of France. I may have been swayed by romantic visions of champagne, baguettes and fromage. When I finally pushed 'send', I was excited and scared all at the same time. I didn’t tell anyone I had applied, as I didn’t really think I would be accepted. But to my surprise, I received an acceptance email. I was really going to France. At that point, I realised I hadn’t actually told my husband yet (whoops!) but I knew he would be 100-percent supportive.

Raku firing in India

So, I spent six weeks in the south of France where Picasso had his ceramic studio, working with three other artists from the United States, Korea and the Netherlands in two studios that were wonderfully historic and very quaint. We worked hard during the day in the studio, and at night or on our days off we travelled around the area, drinking wine, eating the most amazing food and having the wonderful experiences. We were motivated and invigorated, and produced many artworks.

Sally teaching a workshop in Seto, Japan

I have since attended eleven other ceramic art residencies. That first one in France was the first —and the last—time I had to fund myself. Subsequent residencies have all been partially or fully funded and I am so thankful to have had these opportunities to grow as an artist. The hundreds of artists who I have worked with over the years have led to a huge network of support and career development opportunities.

If you are thinking about applying for a residency, here are a few tips based on my experience. 

• Be brave.
  Yes, you are worthy. No, you are not too old/young. Yes, you will love it. No, it’s not scary. You will make some of the greatest friends, and the time and experience will support your art-making in such a positive way.
  

• Do your research.
  Check the residency website and the artists who have previously attended. There are residencies out there for everyone. Try looking at http://www.resartis.org/en/ for a start.
  

• Check the costs.
  Make sure they are clearly stated on the website, and remember to convert to Australian currency. If the residency is funded, make sure you present a professional looking application (to be discussed in a future post).
  

• Clarify the accommodation details.
  Make sure accommodation is included in the residency cost and clarify if you will be sharing a room. If want your own room, you can usually ask and they may charge you just a little extra.
  

• Think about the dates.
  I went to France and Japan in winter, which was okay for me as I don’t mind the cold, but it may not be for everyone!
  

• Find out what materials and equipment are included.
  Some residencies pay for all materials and some require you to purchase them.
  

• Make sure the studio space suits your work.
  If you are a painter, is there enough wall space or easels for the size of the work you want to create? If you’re a ceramic artist, is there a kiln available and access to glaze materials? Ask if you will you work by yourself or with others in the studio space.
  

• Clarify what is required of you.
  Do you have to bring work with you to exhibit? Are you required to donate all or some of the work you make during the residency (usually required in China)?
  

• Find out if you are you required to give a presentation or workshop.
  If you are, clarify who your audience will be. Don’t be afraid of presentations as many organisations include a community aspect in their programs to help them obtain funding. They are usually quite fun.
  

• Don’t ever let a knock-back get you down.
  Just improve your application and apply to another residency, or apply again in the next round. I have been refused as many times as I have accepted.

Sally Walk is a ceramic artist. She holds a Bachelor of Art (Ceramic Design) and a Post Grad Diploma of Education. She has been working in clay for more than thirty years and creates sculptural work in stoneware and porcelain clays. Sally has attended twelve ceramic art residencies all over the world and has held six solo exhibitions and more than thirty group exhibitions. She was selected to exhibit at the Tokyo Art Fair in Japan, Art Melbourne, and the Florence Biennale in Italy, where she was awarded the ‘Lorenzo il Magnifico’ first prize for ceramics. For more about Sally, visit her website or follow her on Instagram (@sally_walk).

Interview: Jett Street, Top End photographer

Coming from a creative family, and being surrounded by artists most of her life, Jett Street was destined to follow a creative path. Her career in the arts and community industry has meant she has worked with designers, models and musicians in a range of guises.

These days the Darwin-based photographer takes images of her clients through her wedding and family photography work, and shares everyday adventures through her Instagram page Little Karama Gangsters.

Living in a generous artistic town like Darwin has meant Jett has regular contact and collaboration with like-minded creatives. As she puts it, "In Darwin, you don't have to reach out to anyone - you have to try not to bump into them when you are ducking into the shop to buy milk."

You started exploring photography a few years ago - what drew you to it?

After my first daughter was born, I wanted better quality photos than I could get on my iPhone. So I piled all my birthday money together - along with a generous top up from my husband - and bought an Olympus mirrorless camera.

I didn't realise what I was getting myself into. I have categorically lost more sleep to photography than having two children.

In my early years, I played the clarinet, saxophone and drums. After uni I completed a degree in animation and in fine form. While at uni I procrastinated with jewellery making and silversmithing, along with some bad acrylic paintings which are sadly still hanging in our house.

I come from a really creative family. I was always the straighty-180 growing up, but I couldn't fight my genetic lineage forever. My mum had three kids, drove a white BMW and was a photographer. I am basically tracing her footsteps. 

What do you love about taking photos?

My focus is to try to capture all the detail and magic to trigger and preserve those memories and in doing so document the story of our life or those parts of other people’s lives that I’m invited into.

Photography has enriched my life in so many ways: through the interest and observation in our story, of people, light and environment, and to experience and capture new adventures. It is a passion I can pursue whilst being present with my children, and it adds a layer of intent to my days. The photos of our life are the icing on the cake of a pretty fascinating craft. The more you learn, the more you realise you know nothing.

The word “photography” comes from the Greek words “phos” meaning “light” and “graphe” which means “to write.” Photography is the art of writing or drawing with light. I have spent a lot of time observing and studying light, which is a large influence for my work and also a part of my every day. It’s an enchanting thing to notice and one which I would have otherwise ignored. I love light, and sometimes that is all I care about in a photo. But the other 70% of the time, I am also intrigued with capturing the character and the story.

Can you describe your style of taking photos?

I love to capture the antics and character that define our daily life. I adore well-crafted images of ordinary things like eating cereal, brushing teeth, making cubbies and climbing stairs. I usually make mental notes of things the kids are doing, or how they are doing it, which speak to their character. And when possible, I try to catch this on camera. 

I am starting to notice that it’s the challenges and rewards of photography that have me hook, line and sinker. It’s like gambling, but without the imminent bankruptcy.

For the record, I have burnt the porridge while waiting patiently for a moment to happen in that magical morning light. Many of my images come with their fair share of sacrifice.

How does where you live influence your work?

I grew up in Darwin and Karama was the suburb that the KGB came from (the Karama Ghetto Boys that is). So it endearingly became 'the bad part of town.' I reflect some of that gangster-ness in my stories and images.

Some of my first favourite images were taken in the swamp over the road, which I joked was our local park. Because I spend time in the neighbourhood with my kids, we stumble across some great graffiti, behaviour and characters. Living here has given me a creative license and lens through which to view the general rough and tumble of my two girls.

How do you work with your clients to tell an authentic story through photography?

This is something that I am still working on. Many of my first wedding bookings were from people who "didn't want wedding photos."

I developed an approach which is 90% documentary and 10% posed. You need some classic shots in there too, but this doesn't have to come with a side of cheese. I love weddings because there is so much activity, love and magic.

I also do in-home documentary for families and newborns. I encourage families to leave all their daily rituals until I arrive. This way, they are usually so busy doing, and not faking it, that they relax and I get some amazing moments.

You tell stories of your family through words and images. Why is this creative act important to you and how does it complement your professional photography work?

This is one of my favourite rituals and it’s a barometer for how busy and happy I am. If I can pull together some thoughts at the end of the day to share a story and a favourite photo, it means I have some mental space to do that, and it also reflects a presence I have shared with the kids through time and observation.

I started out doing this to share anecdotes with family and friends.  It has become a really valued network with other "mamarazzi" from around the world, many who have played a role in my development as a photographer. I love to record all the details and parts of life that are so fleeting. It is basically, my diary, and a future gallery and love letter to my kids, to reflect our life and what I loved and noticed about them. They will never know me as a 33 year old mum when they are older, but hopefully when they read all those tangents, they will get a feel for my character as a Mum of young kids and how much I loved and adored our life.

I feel like I need to post regularly to keep some of my family and friends up to date on what the girls are doing. I also pledged to put my favourite posts into a book at the end of each year, but I still have to do 2016 and 2017. So the public accountability is a good thing.

You’ve recently branched out into sharing your knowledge through workshops – how important is creating connections with other creative people in your community, and how do you reach out to other creatives?

The reason I get so many good photos of my own kids is because I am living the same life, in all the nooks and crannies and for the best light of the day in any room or place we visit. If I teach other people to use their camera, observe light and develop a style of storytelling, then they can too. There is no one better positioned to document your days than you. You know the people, their character and the story and you have a unique perspective on it all.

Photography has helped me to focus on the beauty in our everyday life. Sometimes as a mother at home with kids (before I was working part time) being able to see and capture the humour in the chaos and mess was an absolute saviour. Even if you don't have kids, it injects a creative and interesting perspective into your daily ritual or travels. I hope that others can fall in love with it too.

I am fortunate to have been a part of the arts sector I was very young. I was able to hit up local artists to make animations with their images, use musicians work for soundtracks and collaborate with designers, models and other innovators.

In Darwin, you don't have to reach out to anyone, you have to try not to bump into them when you are ducking into the shop quickly for milk.

I have made some amazing friendships with local photographers who provide a reciprocated love of the craft, are collaborative with skills and ideas, and give my husband’s eardrums a break.

Could you share some other creative women who you are being inspired by at the moment?

My mother Linda Joy is an incredible NT landscape artist. If I keep tracing her footsteps, maybe I will become one in 20 more years.

My sister Matilda Algeria is a brilliant fashion designer. My other amazing sister Imogen is killing it in the recruitment and technology industry, while bringing Make-a-Wish dreams to life in her spare time.

In the NT, Yo Bell, Jess Ong and the rest of the team are doing some incredible work with Spun, their storytelling nights. They are bringing all the best characters and stories to life through their events and podcast. Amazing listening.

In the photography world my top five would be:

• Helen Whittle from NSW, for her beautiful portraits.

• Niki Boon from NZ for the most incredible documentary photographs of her life.

• Twyla Jones for her emotional storytelling.

• Meg Loeks from the USA for her incredible style of classic and magic, environmental portraits of her children.

• Elizabeth Wood from the UK for her storytelling, self-portraits, and general feeling.

Kate Shannon is a freelance writer based in Brisbane after many years living in Darwin. She spends much of her time in the garden with her two little girls, and loves writing and learning about creative people, flowers, and plants.

Photography: Jett Street

Studio visit and artist interview: Sam Michelle

In three years, Sam Michelle has gone from being a salaried employee in banking to a professional artist on the cusp of achieving her ‘forever goal.’

For Sam, following her childhood dream has been as simple (and as difficult) as one humongous risk, habitual goal setting, a truck-load of hard work and a handful of faith. Let’s unpack that, shall we?

Risk

After a co-worker had a heart attack from stress, Sam knew it was time for a change. She’d chosen banking for security and stability but now she wanted a career that would make her happy and that she could flex around her kids. Oh, and it also needed to work financially. That was the part she was unsure about.

Sam thanks her husband for giving her the push she needed. ‘He encouraged me to just go for it and let all that stuff take care of itself,’ she says. Not that she left any of that ‘stuff’ to chance. Sam’s approach to the business side of her art practice is meticulous. ‘Working at a bank taught me how to communicate with clients and value service,’ she says. She answers emails promptly, communicates openly and often with customers who commission her work, and mines Google analytics for intelligence on which paintings attract the most interest, feeding that information back into her practice.

The rigour has paid off. In July of this year, Sam was able to take on a studio space to create some much-needed separation between work and home. She shares a converted factory shell in Mornington with four other painters. It’s an incredibly supportive environment. ‘Most days we have lunch together and we’re always exchanging tips and ideas,’ Sam says. She loves her forty-minute commute through cow pastures.

Another trick she uses to keep a healthy work-life balance is scheduling weekly dates with her young sons. ‘No matter how busy I get, they know Monday afternoon is all about hanging out at their choice of café. It’s lovely, quality time.’

On being self-taught

Sam’s art training happened in high school, with a brilliant teacher who gave her confidence in her ability. After that, her progress was self-directed, on weekends or after work. ‘I’d say, “I need to get better at painting light or doing skin tone” and practice until I’d learnt it,’ she says.

Sam credits social media with helping her work find its niche. Through Instagram, she connected with some small galleries and interior décor stores, which took a few paintings to test how they went. After they sold reasonably quickly, the relationships grew from there. Sam’s lush use of colour and her bold brushstrokes have struck a chord. Her paintings routinely sell before they make it to the gallery wall and after every exhibition, there’s a flurry of commission work. Pedigree is still important in the art world but it’s hard to argue with demand. ‘I thought I wouldn’t be able to get into commercial galleries because I didn’t go to Uni. Now, I don’t worry about that so much,’ she says.

The forever goal

Setting goals is an integral part of Sam’s art practice and business. The Maker’s Yearbook is her go-to planner for articulating goals, setting targets, keeping track of progress and remembering past accomplishments. ‘I view this book as my boss,’ she explains. And if you’re worried about being your own boss, delegate! Whether it’s earning enough to hire a cleaner, providing for her kids, or being able to purchase a piece of art she’s fallen in love with, having a ‘carrot’ definitely helps when it comes to doing the work.

Sam’s forever goal is being a professional artist, creating work for commercial galleries—a goal that has advanced from fantasy to reality, a remarkable accomplishment at thirty-five. 

Faith

It’s not all number crunching and pragmatism. When Sam talks about her evolution as an artist, there’s an undercurrent of intuition, an element of human connection pinning it all together. Her transition from acrylics to oils, for instance, happened when she visited her grandfather, also an artist. Sam was a sixteen-year-old high-school student and she told him she loved painting. His eyesight was going and he gave her all his oil paints. She created two big paintings with them and, in terms of materials, has never looked back.

Similarly, when Sam does a commission, she’s acutely aware of the connection between the painting and the buyer. ‘A commissioned painting is like a tattoo. There’s always a story behind it,’ she says. Sam handles these jobs with the utmost respect. She welcomes feedback and involvement from her buyers, making them comfortable with the process and ensuring they get a painting they love.

Whether painting on commission or for herself, Sam imbues her subjects with personality. She gesticulates with her arms to show me different leaf poses and explains how certain angles make for ‘happy’ paintings while others are dull or sad. When painting plant stems, she thinks of legs, elegantly crossed. In Sam Michelle’s art, the personal is pleasurable and meaningful.

Even as she’s showing me around her studio, Sam spends as much time championing the work of other artists as she does describing her own. It’s that human-connection factor. She draws inspiration from friendship, connection and other people’s success—a deep well of inspiration, indeed.

Sam’s current show, the Cloth Collection, is at Gallerysmith until November 11. If you’re in Melbourne, do head down to enjoy these beautiful paintings in the flesh. For more information about Sam Michelle, visit her website, sammichellepaintings.com.

Jo Watson is a Melbourne-based screenwriter and artist. Visit her on Instagram (@diary_of_a_picture_book_maker).

Interviews with creative women: Mirranda Burton, visual artist and graphic novelist

Wattle trees in full bloom line the roadside on the drive to Mirranda’s home studio in Melbourne’s north east.

Mirranda is a visual artist who tells stories with printmaking, animation and graphic novels. She meets me by the gate and welcomes me into the compact house which has been her home and studio space for the past three years. The small home was once a worker’s hut used as accommodation during the construction of the West Gate bridge. After the bridge’s completion, the renovated fibro cottage was transported to the Nutfield property, where it sits amongst twenty acres of bushland.

Mirranda’s making space
 

A curved brick path leads to the entrance of Mirranda’s home. It is a sheltered spot facing views of wattles, gum trees and a broad expanse of bushland. Birds fly through the scrub, calling out to each other and frogs can be heard croaking from the nearby dam. The small home is immersed in the landscape, filled with the scents and sounds of the Australian bush.

A mix between 1970’s simplicity and light Scandinavian style, Mirranda’s space is filled with treasures she has gathered over the years. She has made the space her own, as a home and a studio. ‘It’s been a real gift for finding out who I am as an artist,’ said Mirranda.

A large marimba sits quietly in the corner of the room, a reminder of Mirranda’s abilities as a musician who also plays mandolin and piano. The wintery Melbourne sun gently streams through the north facing windows, creating moving patterns and shadows on the Persian rug.

A pin board displays carefully placed items which provide inspiration for Mirranda’s graphic novel; a large map, a picture of a wombat, an image of iconic sixties black framed glasses. A lightbox is on hand for tracing work. The expanse between the two windows features large bookcases filled with books. Mirranda’s favourites include Art Spiegelman, Marjane Satrapi, Nick Hayes and Sarah Glidden. The Russian expressionists, German printmakers and woodcut artists have also influenced her work.

Treasured LP’s including David Bowie’s Heroes and Duke Ellington’s Jump for Joy sit ready to be played in front of the turntable. Mirranda is inspired by something that Bowie once said in an interview, ‘When you’re in a slightly uncomfortable place in your creative practice, you’re actually in a very exciting place to discover and to make something really interesting,’ said Mirranda. ‘It comes back to that notion of life beginning outside your comfort zone.’

Printmaking as a response to the native environment

Mirranda’s latest linocut series has been created as a direct response to her immediate environment and her place in it. Using the fox as metaphor, she examines the notion of humans being an introduced species in the native Australian environment, drawing parallels through her art to examine the conflicts and impacts. ‘I feel like it’s an opportunity to self-reflect even more about our own impact’

The fox linocut series was developed during her recent two-year artist residency at Dunmoochin. ‘Dunmoochin was a huge turning point for me in my art practice and it was a point in my life where I really decided to fully commit to my art practice as best as I could,’ she said. Turning forty and being in a creative environment with other artists helped propel Mirranda. ‘It was time to really do the work that I’ve truly believed in.’

Mirranda’s printmaking work focuses on crisp black and white lino prints. She works on her designs in her studio, cutting the lino on her brightly lit desk and then prints the work at Baldessin Press. ‘I’m particularly fussy about getting very strong blacks and very strong whites in my prints.’

Graphic novel
 

Mirranda is currently working on her graphic novel, which is due for publication with Allen and Unwin in three years’s time.

A recent trip to Vietnam provided Mirranda with research material for her graphic novel. It explores historical events around conscription in Australia during the time of the Vietnam war and includes stories which she has gathered by interviewing people in Australia and Vietnam. The novel will include ink illustrations that capture the style and fashions of Melbourne in the 1960’s. A wombat also plays a major part in the story.

Connecting with other artists
 

‘I love working on my own, but I’m always connecting with people in the area who are also practising artists.’ There is strong community of artists making graphic novels and comics in Melbourne. ‘I feel like a have a very supportive network around me.’

In October 2017, Mirranda will take part in the Melbourne Comics Workshop in Yogyakarta, Indonesia with a group of comic artists to work on their projects. As a result of previous workshops, published work has been produced by group participants. ‘Because we’re all working in very solitary spaces to create what we do, it’s very exciting when we come together and sort of fuel each other in our work.’

Sustaining a creative practice
 

Mirranda works in roles that nurture creativity in the community. Balancing her creative practice with other work, Mirranda also facilitates an art program at a local disability support service. Together with artists Ixia Black and Melissa Haslam, she is also one of the founders of Cube Z art gallery that has recently exhibited the work of artist Sam Beke who attends her facilitated art group.

In addition to working on her lino prints and graphic novels, Mirranda also freelances as an animator and an illustrator, undertaking residencies in schools and teaching workshops. ‘I’m doing quite a number of things to help support my art practice,’ said Mirranda.

On pursuing creativity, Mirranda said, ‘Being creative can be a really challenging thing. Sometimes we’re really daunted by the prospect of being creative, but embrace the discomfort and I think, wonderful things happen.’

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Jenni Mazaraki is an artist, designer, writer and podcaster who helps women tell their stories. She is particularly interested in the ways that women make time and space for creativity. You can see more of Jenni’s work at www.localstoryspace.com or on Instagram @localstoryspace or Facebook.

Photos and video production by Jenni Mazaraki