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!

How to create art for businesses

In the last post on this series, we covered some basic tips for working on art commissions.

On this post, we’ll discuss in more detail things you can do when working on art commissions for businesses. 

Creating art for businesses is very different from creating commissions for individuals, because there will often be a lot more people involved in the process. Whereas some organisations (such as city councils) regularly commission artists and will have a clear process in place, others have never done so before. Because you might be working with feedback and expectations from a large team of people, communication can be even more challenging. 

Keep in mind some of these tips to help you during the process:

Know who is making decisions and giving you feedback. 

Even if you deal directly with only one individual in the organisation, they will often be the spokesperson for a group of people that all have a say in the artwork. Understand who is involved and what process they use to discuss your work and come to agreements. If someone is passing on the ideas between you and a larger team, do something so that they can be easily presented (such as a PDF explaining your concepts) or try to arrange a meeting to present them yourself. 

Establish your creative context.

You need to understand from the start what they expect from you as an artist and how much your creative input will be valued and listened to. Some businesses will have a designer / creative team, and they might see you as a collaborator on the conceptual phase or merely want you to reproduce their ideas, as well as anything in between those two extremes. If there is an existing creative project in place (such as interior redesign or a rebrand of the company) try to speak to the designers to understand what your creative context is. 

Always understand their brand and who you are creating for.

Even if you have complete creative freedom with your piece, make an effort to understand the company’s brand and values, as well as the audience of your artwork, so that you can sell your ideas. If you have to justify any creative choices, it’ll be much more effective to do so explaining how they are relevant to the company and the people involved with it. 

Make art for the audience, not the boss. 

Inevitably, sometimes you will receive feedback that is based on the personal taste of an authority in the company or the individuals working with you. Although their understanding of the organisation is essential, their personal taste should NOT determine the direction of the artwork. It is essential that the conversations about your piece centres around its audience, whether it's existing customers, prospects or staff. Be prepared to explain your creative decisions and stand your ground on important points. 

Accept that some people will hate it. 

The bigger the business, the smaller the chances that every single person in it will love your work. Do the best art you can in the context of the project and don't worry too much about individual opinions.

Follow Julia on instagram at @artofboth, and at her website artofboth.com. 

Australian Women in Art: Outsider Artist Jasmine Mansbridge

Jasmine Mansbridge is an ongoing contributor and supporter of CWC, and an artist with an upcoming show at Koskela in Sydney this year. In the often intimidating art world, Jasmine would be considered an “outsider artist,” a term used for people who are untrained, without a formal art school education. However, as you’ll read from Jasmine’s contribution below, her training has been gained through mentors and life. And, like many other “outsider artists,” she is generating a swirl of supporters and attention through sheer drive, visibility, and consistent, passionate determination.

With no formal fine art education, you are very much an “outsider artist,” as the industry likes to say. How has your journey as an artist transpired? Tell us about finding confidence and courage in your style, and why painting has become your passion.

My overall naivety about the art business reveals itself to me more and more as time goes on. It was around this time last year that I was referred to by a gallery as an outsider artist. This was the first time I became aware of the term. I think if years ago—when I started painting—I had known what I know now about the complexity of the art world, I would have been too overwhelmed to feel I could ever experience success as an artist.

My desire to be an artist has been built by the practical application of creativity. I became pregnant at age seventeen, and at the time I was living in Katherine in the Northern Territory. There was no internet, no phone, and often no transport. I lived away from my parents while all my friends had typical teenage lifestyles. I was determined to be the best mother I could, so I began painting as a way to channel my frustration and loneliness into something positive. I would be home painting while everyone else I knew was out. My painting sustained me and gave me a way to express myself.

In those early years, I was encouraged by older, established creative people within the Katherine community. This is one reason I love to share with people, because I am proof that creativity can bring so many good things to one’s life.

My growth as an artist has been largely organic. I am big on taking opportunities presented to me. I have so much to learn, but I have always figured I will only learn by doing. I think that the hard thing about being on outside, is getting on the inside!

How did you arrive at your medium? Has painting always been your creative outlet? Expand on finding painting and the specifics of the medium (such as acrylic on board).

When I first started painting, it was with those tiny tubes of acrylic you could buy from a newsagent, and watercolour paper. I still have some of those early works.

I was encouraged to paint by my in-laws at the time. They run an Aboriginal art gallery in Katherine and began giving me linen off-cuts and basic paint colours. This is where my obsession with quality art materials began, because it makes all the difference to a piece.

It wasn’t until I started to sell work and buy it myself that I realised how much it all cost. If you know someone who likes to paint, why not buy her some good stuff? It makes such a difference. I have always painted with acrylics because I’ve always worked within the home environment. They dry very quickly and don’t have the smell that oils do. They also work well with my style and allow me a lot of control. I love to paint on linen as it is such a beautiful product, but I also work on board, and on paper for smaller works. In saying that, this year I plan to experiment with oils to see what they do visually to my style.

With a growing number of solo exhibitions, a book, public murals, and a pending exhibition at Koskela later this year, how do you divide your time while still being present to your family of five? 

It is answering this question that led me to write my book, There Is a Paintbrush in My Coffee. In the book, I talk about all the ways I have learnt to work over the years.

You have to be very passionate about something to give it the energy that I give my painting and my family. But the nature of painting—the solitude, the contemplative aspect of it—is quite complimentary to the overall busyness of my life. My family brings its own blessings in that they love me and need me whether I do good work or no work. It is a great balance to the ego having children. I am often reminded of the saying, “Before enlightenment, chop firewood and cart water. After enlightenment, chop firewood and cart water.”

It is school holidays at the moment, so my house is like a bomb site. I have to set very low expectations of what I will get done so I can be happy. I am glad I have the excuse of being a artist so I can ignore the mess and let the kids be “creative.” During school term I use a bit of daycare, do “kid swaps”; I have a couple teenage babysitters, and sometimes I pay my own teenagers as well. It is always a juggle because children’s routines and needs are always changing. Simply put, I am a control freak who has had to learn to let a lot slide. There is a line from the cartoon Madagascar that stays in my head: “Just smile and wave, boys, smile and wave…. often all you can do.”

This year will see a massive shift with the oldest two (20 and 17) away at university, two in school, and only one (my crazy two-year-old) at home. So I am planning on taking on a bit more this year commitment-wise. Exciting times ahead. My husband has a job that sees him working long hours, especially at this time of year; we are both ambitious in our own way. But me working from home means I am also running the home. It is a challenge, but I have come to accept that it always will be. To be working creatively is a great gift, something I am aware of and grateful for daily.

My greatest asset, I think, is to be able to mentally “turn on a dime” and paint productively in short spaces of time. If I have an hour I use that hour. You have to develop and nurture that skill. My biggest tip would be to get a space to work where you can leave your work—even if it is just a corner in your bedroom (where I worked for many years), or a drawer in a cupboard. Doing this means you are able to maximise your work time and not waste it setting up or packing up.

Being creative is such a wonderful way to relax, to order your thoughts, to challenge yourself, and to express yourself. It is a way to add value to your life.

Your work continues to progress. Who are your influences and inspiration and how important have mentors been to you?

I was a child who grew up without a television and I spent many hours drawing. My grandmother was an artist and she worked in a studio painting portraits, amongst other things. I was always disappointed at how my pictures looked compared to hers, so early on I tried to find my own way of visually representing things. I remember being awestruck the first time I saw mosaics, and I have been obsessed with pattern and repetitive design for as long as I can remember. These elements have always been present in my work in some way.

While still in Katherine (which I left when I was twenty-six), I spent time with established Indigenous artists. Their use of pattern, and their patience and devotion to their work, resonated deeply with me. I learnt a lot about the life of an artist, and how important it is that it be tailored around the work. My life is like that. My life and my painting are not separate but the same. I have always felt greatly moved in nature and had a connection to the physical world, and this—as well as storytelling—are all aspects of my work.

This philosophy has seen me ride the highs and lows of the “career” side of my life well. At the end of the day, I would make work with or without an audience. While commercial success and sales are important because they enable my work—and me—to grow, I often remind myself that to do meaningful, connected work, I have to be meaningful and connected to my work. Otherwise it will become empty, repetitive, and meaningless.

In the last few years, social media has allowed me to connect with a wider audience and has given me some wonderful friends and mentors. I am grateful for this and I definitely do not feel the isolation I once felt as an artist living in a regional area. There are also more creative people living and working in my local area (Hamilton, Victoria). I think we are in exciting times for regional centres as new hubs for creative growth, perhaps due to cheap living costs and the internet making the world a much smaller place.

You mentioned M.C Escher; he is certainly an artist who I have long admired. I also love the suburban paintings of Jeffrey Smart, the Australian artist. They say something about the artistic quality of the man-made world. Of artists working presently, I think Ghostpatrol (David Booth) does interesting and clever pieces, as does Miranda Skoczek. I have a friend here in Hamilton, Grotti Lotti, who is making beautiful work as well. I love a lot of art, but it is the paintings I remember that impact me. That is my measure of good work: the images that stay with me long after I have seen them.

Patti Smith has influenced my thinking a lot in the last few years. Her thoughts on the culture of celebrity have got me thinking about this within the art world, and her simple advice to just “do your best work” resonates with me time and time again.

You have a big exhibition at Koskela in Sydney later this year. How did you secure your gallery exhibitions? What are your top tips for other artists trying to establish themselves and secure gallery exhibitions? 

I am really looking forward to showing at Koskela. I remember going to a Rachel Castle workshop there in 2012, thinking how much I would like to exhibit there. Like most things I do, the time between the seed of the idea and it actually happening is usually a long time.

I don’t have time or resources to pursue a broad range of ideas, so I generally pursue only a couple important ones. I actually flew to Sydney this time last year to meet with the art director and show her some work in the flesh. This was after some time spent sending emails back and forth and developing connections there. Anything worth doing costs something, and finding places to show your work is no different. For a long time now, all the money I make goes back into the work, so I am able to make bigger and better things happen. Then, of course, you have to do the work. Every door opens another, so to speak. I want to keep making the work better to prove myself worthy of the next project, and so on. I say this all the while aware that I am not yet where I would like to be career-wise, and knowing that I have to take my own advice and be patient and consistent.

My advice to younger creatives is to get out and say “hi” to your heroes. You won't connect with everyone, but you don’t need to. Be yourself, but the best version of it. If you want to work with someone, reach out and tell him or her. The world is so small now; with social media, you can chat to almost anyone.

My favourite thought of late, which keeps me going when I am clueless, is this: No one has been me before. It’s very simple—scary, almost, but true. No one has been me. I can only make choices about what I want to do. I cannot follow, emulate, or duplicate another person’s career or life. I can’t live off someone else’s advice or example. It is a powerful truth.

You have only failed when you have quit, so keep working. Creativity is a long game. As I said above, it is inextricably linked with your life. Do your best work and get it out in the world.

Lastly, how important are your support networks? And what is some of the best advice you received when you were establishing yourself?

The Creative Women’s Circle came into my life at an important time, when I was feeling like I needed to link into something bigger than myself. Because I live regionally, work from home, and work in my home as a mother, I can feel isolated. Through CWC, I was able to meet people I would not normally meet. Blogging for the CWC helped me clarify my thoughts on many things, and cement my feelings about being a professional creative. I recommend membership to everyone I meet, as it is an invaluable resource and support system.

To see more of Jasmine’s work, visit her at jasminemansbridge.com. She can also be reached at jasminemansbridge@yahoo.com.au.

Annette Wagner is a designer, marketer, creative consultant, artist, and writer. She is also on the board of the Creative Women’s Circle. Obsessively passionate about the arts and the creative process, she is determined to not talk art-speak and instead focus on supporting and sharing concepts and insights most creative types crave to know.

Tips on Live Painting

by Júlia Both

“Live painting"—when an artist is commissioned to create something in front of an audience—is quickly becoming a popular entertainment option at events such as corporate dinners, award nights, underground parties, exhibitions, and cultural festivals. Painting live at an event is an interesting and non-intrusive way to entertain an audience. Most people never get the chance to see a piece of art unfold, and find it fascinating to watch it progress.

If you are an artist, live painting can be a great opportunity to network and get your art seen, though it is completely different than creating something alone in the peace and quiet of your studio. Here are some tips to help you paint live in front of an audience.

Plan a piece that suits the event. When choosing what to paint, think about how you will paint it and whether it will be both interesting to watch and achievable in the duration of the event. Choose a theme and style with which you are very comfortable.

Pick materials suitable for the space. If you are painting indoors or near people eating, do not use aerosols or paints with strong fumes. If you are painting in a pristine environment with expensive carpet, don’t plan to create a piece that will involve splashing lots of paint around.

Go big. The point of live painting is for people to watch it happening. Your piece needs to be big enough so your body won’t block it, and should require you to move your arms and body, not just your hands. Unless it is a very small event, don’t go smaller than one square meter.

Prepare as much as possible. If you are feeling nervous, why not do a practice run? You can paint the same painting or something similar the day before, perhaps on a smaller surface, to check your process and palette. This will help you build confidence and plan your timing.

Depending on your style, it might be a good idea to sketch the painting on the surface before the event to save time. If you use light chalk or pencil, the audience won’t be able to see the sketch; it will look as if you are creating something completely from scratch.

Keep in mind that while you’re painting, you will be seen and photographed as much as the artwork. Think about how your choice of clothes can complement the art.

Get an efficient setup. Visit the venue beforehand so you can plan how to arrange your materials and tackle any problems with lighting, space, etc. Set up your materials within easy reach. Consider getting a small table for your supplies so you won’t have to lay them on the floor.

Use a limited colour palette. If you have to mix specific colours, mix them before the event. It will make the painting go a lot more smoothly if you have all the right colours and can just focus on applying them to the piece.

If you are using reference materials, don’t spend the event looking at them on your smartphone. Print out the images and have them somewhere accessible. I like to stick mine with tape to the floor in front of the painting, so my hands are free and I can check them easily, without detracting from the piece.

Consider movement and timing. While you are painting, think about your body as part of the performance. Can you make your movements more dramatic and interesting to watch? If possible, position yourself in a way that allows people to see your hands and the brushstrokes you make.

Guests will want to photograph your finished work and talk to you about your art. Finish your painting before the event ends to leave enough time to network. To make sure you are not going too quickly or slowly, divide your process in stages and set milestones for certain times. Keep a watch or phone handy so you can check your progress.

Remember: no one is judging you. It’s easy to feel nervous when you have an audience behind you, and to think people are judging your every move. Don’t let your mind go down that path. Remind yourself that people are there to have fun; they are busy interacting with each other, not staring at you constantly. Most people don’t understand the process behind a painting and won’t even notice if you do something wrong. If you make a mistake or spill paint, don’t panic: stop, take a deep breath, and just follow the steps to fix it. 

Júlia Both is a visual artist from Brazil. Since moving to Melbourne in 2013, she has run Mayfield Palace, a partnership that creates art for businesses and organisations all over Australia. She shares her work regularly on Instagram (@artofboth) and at artofboth.com.

How to hold an art exhibition

By Júlia Palazzo

I work in a studio with another artist and for the past month I’ve been helping him put together his first solo exhibition in Melbourne. I have to say I’m SO relieved that we had the opening last Friday and that all the work is nearly over! As much as having your own exhibition is an incredible experience, it can also be stressful and daunting.

If you are early in your visual art career, you will eventually want to showcase your work in your own show. And (at least at first) you will probably show your art in artist run galleries and more alternative venues, and will be responsible for a lot of the work related to making your show succeed or fail.

Here are 5 areas to keep in mind when creating an art exhibition:

Paint: Go on a journey with your art

When creating art for a show, pick a theme that you know you can explore for an entire body of work, that you are passionate and curious about. Write, think and study the concept behind it before you start creating the final art pieces. You should be able to describe the ideas behind your work concisely, and refer back to them when you feel lost.

Know how many pieces you’ll need to create for the show, and be realistic about how long you will need to paint them. Make sure you book the venue well in advance, and try to have all the art finalised a few weeks before the opening. You don’t want to be painting until the last day available and then have no one turn up because you didn’t do any promotion.

Choose materials that you are comfortable working with. Exploring and practicing with new mediums might be best left for when you are not under pressure to create work for a show.

Present: Use the space creatively

Measure the walls and choose how you’d like your art to be displayed in advance, making sure that you create enough art to achieve the result you want. Think about how people will walk around the room, and whether the order of the artwork can tell a story or take them on a journey.

Think beyond the art. How can you transform the venue’s space to create a remarkable experience for your viewers? Can you use the scent of flowers, music, or change the colours of the walls to help people immerse themselves in the art? Attend other exhibitions in your city to get inspired. If you are in Melbourne, Backwoods Gallery in Fitzroy always does an incredible job of presenting their exhibitions in an unexpected way.

Give people context. Did you go on a trip away or develop a new method to create this body of work? Think about how you can tell your story to people through the display, and prepare yourself to be able to talk about your art.

Promote: Spread the word through your network

Make sure that the design of the promotional materials and the photos of your art will do it justice. If the venue does not have a designer or photographer, consider getting one to help you.

While you are creating the art, post sneak peeks on your social media and remind people regularly about the upcoming event. Talk to the venue about creating a Facebook event and sending out press released to relevant publications.

If there are important people in your industry that you’d like to attend your show, do not be ashamed of inviting them directly through an e-mail or message. Ask you contacts to share the event with their peers.

Party: Make an event of it.

Plan an opening event to give people a chance to gather and meet you at your exhibition. Choose a date that won’t conflict with other similar events, and make the space pleasant through offering drinks and food. Many beer and wine businesses offer sponsorship and discounts for creative events.

Consider offering an artists talk on a separate date from the opening. This will give people a chance to hear about your work, and an opportunity to meet you if they missed the opening night.

Consider having accessible options for people besides the artwork. Not all you fans or visitors will be able to afford an original piece of art, but I guarantee a lot of them would be happy to support you and take home something from your exhibition. Maybe you can have an exhibition book, prints or postcards for sale.

Peace: Be in a good frame of mind

Look after yourself and your health during the process and make sure you SLEEP. Exhaustion will destroy your ability to make good art, and the last thing you want is to finally get to that opening event and be unable to enjoy it or talk to anyone because you are too sleep-deprived.

Be kind with yourself. It is perfectly normal when you are working on a big project to have moments when you feel that you are not a “real” artist or that your work won’t be good enough. Reach out to your friends or family for reassurance, and don’t feel guilty if you have to take a few days off to relax.

Keep the long term in mind. If you are a working artist, you will probably exhibit many times over the years, each one will be a step on your journey and a learning experience. Do not expect that one show will bring you overnight success, and do not be hard on yourself if at first you do not sell many pieces or get much of an audience. Stay positive, learn from your mistakes, and keep on creating.

Images by Michael Panozzo 

Júlia Palazzo is a visual artist from Brazil. Since moving to Melbourne in 2013 she has been running a partnership, Mayfield Palace, creating mural art for businesses and organisations all over Australia. She shares her art daily on Instagram: @julia.palazzo