From those early days of making these wall based assemblages, the whole process orientation took shape which was to guide me through many twists and turns in my creativity, which had me exploring many mediums in the found object genre including sculpture, installation, public art, digital printing and a return to painting.
This also has correlation with mankind today on some levels, as we see that those people who live reasonably affluent lives, are generally more inclined to appreciate art and are more likely the kind of people who do not wish to live without art. It seems all through history it has been like this, with the more wealthy elements in our society appreciating and fostering artistic endeavours.
Your work in the studio is something completely different. The success that you have with the work that you create in your studio will stand alone by itself, you will either have successful breakthroughs which will make your work stand out or not; only time will tell. However, to get your work out there into galleries, in front of the general public and collectors, will need you to in some way, develop a systematic approach and to develop a systematic approach you will need an action plan.
You must remember that everything in life happens in cycles. You will have highs and lows in your career. Successful individuals are the ones who persevere and don’t get swallowed up by any negativity that the lows can bring.
I can tell you many stories of my own experience with this, having also gone into the cycle of using one credit card to prop up repayments on another one, etc. etc. It’s very easy to get caught up in this kind of behaviour, especially when credit is so easy to attain and if you are going through a lean period with sales.
I do this so that I can head them off at the pass so to speak. In doing so I am able to safeguard the work to a large degree by thinking ahead and designing and protecting the work so that any potential vandalism can be kept to a minimum.
This sculpture was made from the trunk and root ball of a Camphor Laurel tree and, was made over a 2-year period between 2008 and mid 2010. It began with my receiving a call from a local eco farmer who knew my work. He told me he had a gift for me if I wanted it. I could do what I liked with it.
It is not necessary for all artists to have to experience such a dramatic incident as having a fire in a studio to bring about a major change in their outlook on life. Some artists instinctively do this simply in the process of their work in the studio. This is just how it happened from there and it left an indelible imprint, which has continued to this day.
My entrée into environmental artwork was not my first shift in media and style. I began my artistic life as a figurative painter, attracted to that form of expression for its narrative qualities. During art school I had moved from figurative paintings to more abstract work.
My art school days were exciting right from the start. I met many amazing people, both students and lecturers. I created deep friendships and as fate would have it, I ended up in a five-year tumultuous relationship with the very same young woman that I met in the cafe the year before. Her name was Barbara and she was beautiful. Just what a young man fresh out of the confines of a four-year stint at an all boys boarding school needed.
My teenage years were mostly centered on my various infatuations with girls and my adventures with my friends on surfing safaris, or surfaris as we called them. I imagine this connection with the ocean, which I developed as a child, later had a strong impact upon the type of art I would end up creating.
As a young artist, I was fortunate enough to interact with many people who played a significant role in shaping the Australian contemporary art world.
Although one of my favourite places to exhibit is in New York, I also love to show in many places on the international stage. I’ve been accustomed to exhibiting my art in many places other than my home country Australia, because of a number of reasons. I believe the primary reason is because of my work being different from standard practice.
I have learned that the main reason that I have ever experienced any misunderstanding in China was simply because of the issue of face.
Exhibiting in China comes with a necessity to learn what is known as the “Chinese way”. This is the way that has been taught to me by a very good friend of mine who is a Chinese businessman.
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.
