I was on a bit of a mission because I had seen a certain type of driftwood stick that was washed up and down the coast around that area, which was really suitable for me to use as framing for some of my assemblages, so I really wanted to gather as many as possible.
My work with driftwood assemblages and sculptures began in 1998 and has continues to be a major part of my creative output. An article described these driftwood assemblages, which I exhibited in a solo show in Australia in early 2004, as having been created with: “A sheer depth and determination…Including, death-defying moments grabbing the perfect piece of wood.”
Research the gallery, find out who is the director, and write a letter of introduction with details about your website, if you have one, and include a CD, though these days I think it’s preferable to send some good quality photographs as well.
One of the first things that I’d recommend for an artist when they’re contacting a gallery for the first time is to never do it cold.
In presenting to the community my rationale behind the recycled sculptural piece “The Guardian”, beginning with the briefing notes that this large-scale work was to use road infrastructure, that would otherwise be discarded which needed to be robust to be set in trees by the highway and to be highly visible in this location and also lit at night.
This particular work was in response to a brief from the Brisbane City Council, who decided that a public artwork would be appropriate for the entrance to Kangaroo Point, which is a small suburb in inner-city Brisbane. It was to receive a new traffic intersection and entrance without the traffic lights, that had been slowing down this particular entrance for a number of years.
The ‘Absolut Dahlsen’ commission was a really wonderful experience, mainly due to the team I was working with throughout the whole project. This included the executives from Absolut who worked with me most surprisingly, in a very lateral manner. This really helped keep an exciting flavour from the beginning through to its completion.
The answer to this would have to involve my public art projects.
In terms of their success, I would most likely look towards two larger ones as being standouts. In this regard the ‘Absolut Dahlsen’ commission alongside the ‘Guardian’ commission are the two of my most favourite projects.