Artist Profile - Jody Graham

Fascinated by the energy, visual chaos and dark soul of the city, particularly its construction and industrial sites and older buildings, Jody is known for her bold, expressive urban landscapes, exploring themes of impermanence, loss and erasure and “documenting what’s happening before our eyes.” - From Jody Grahams website 

When I think of artists who are resolute in practice, Jody Graham comes to mind. I was fortunate to visit Jody in her capacious studio on the outskirts of Sydney CBD. Adorning the walls were large architectural charcoal drawings in progress. Some further along than others; each one revealing the scaffolding underpinning her unique draughtsmanship and familiarity with the medium. The drawings are bold, confident and mysterious... and are characteristic of x-rays, in that the 'bones' of the drawing can be seen through the dark areas of built up charcoal. Jody reveals that her love of old buildings and architecture takes on an anthropomorphic quality. There is a visceral moment of connection when confronted with an old building then learning of its history.

What led you to become an artist? 

I have always had a desire/urge to draw, paint and make things. Its how I learn and make discoveries. Sometimes I am embarrassed by the bigness of the title artist. It is a label I use and others give to me to categorise what I do.

How has your practise changed over time?

Drawing has always been central. This is changing, however, to include expanded notions of drawing. 

What role does the artist have in society?

I think the artist offers another viewpoint. The artists role is also to be both playful and serious and to find beauty and to encourage empathy.

What has been a seminal experience for you in the art world?

There have been a few! I have been a finalist in the Kedumba acquisitive prize for drawing on a few occasions. Secondly, spending time in Fowlers Gap with a group of artists as well as being in Broken Hill. Getting sober has also been a seminal experience for me. 

If you could go back to any era in time as an artist, when would that be and why? 

I would like to hop into many eras! 

What do you dislike about the art world? 

I dislike competition in the art world.

Whats the best piece of advice you've been given? 

Even if you don't feel like it - go to the studio and make marks. Sometimes you just make a few marks, sometimes those marks turn into a whole day of work. 

Professionally, whats your goal? 

To keep striving to make my work better. To head for a maturity in the work.

What art do you most identify with? 

Definitely drawings. But I also like makeshift things in everyday life. 

Tell me about the subject matter of your artwork and why it resonates with you. 

Architecture and structure attracts me a great deal. The history of a building or place resonates with me. Interestingly, the passing of my father saw my direction move to older buildings than I had been previously drawn to.

Jody's passion for her practice is evident in every nook of her studio. There are materials collected from the street such as cigarette butts, discarded plastic, wire, old keys, even an old shoe. Charcoal dust lines exposed plumbing and most surfaces. It is an ideal environment to let the imagination wander and engage with material. Her affable nature and sense of humour is a wonderful counterpoint to the beautifully dark and atmospheric drawings she creates. 

Jody Graham is represented by Lost Bear Gallery, Katoomba and more information can be found on her website HERE

Rowen Matthews- 'Rocky Ground'

When: 1st August - 13th September 2015

Where: Blue Mountains Cultural Centre

The latest Exposé exhibition on display at the Blue Mountains Cultural Centre sees artist Rowen Matthews work in all its juicy glory! Thick daubs of colourful paint cling to large scale canvases which refer to the landscape in its immediacy and changeable nature. 

'Orphan Rock, receding mist' 2015 Oil on Canvas

'Orphan Rock, receding mist' 2015 Oil on Canvas

The artists technique with paint is not for the faint of heart... it requires a certain confidence and grounding in the qualities of the medium to present works with such gusto, and at such a scale. Matthews begins his approach to the artworks with an impression, often mark-making on the canvas before applying the paint. 

The Cultural Centre says of the exhibition- 'An expressionist exhibition of paintings and drawings that look at mountain landscapes with a focus on the temporary activities caused by weather and bigger earth-sculpting changes that take place over time. The work notes the experience of being in some dramatic places including the Blue Mountains and the New England Tablelands. The exhibition shows a connection between drawing and painting on small and large scale, making active marks that respond directly as part of the artist’s engagement.'

In the centre of the gallery is a plinth containing 4 large jars with the remnants of Matthews' palette. These gooey, lush sediment rich remains are a tactile insight into the artists choice of colour. Rowen Matthews will be giving a floor talk at the gallery on Saturday 15th August 2-3pm.

Artist Profile - Kay Bazley

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To broaden my contact with other artists and their practice, I will be interviewing creative folk over the next few months to see what makes them ‘tick’. Visiting their studio offers insight into their mode of creativity, thoughts on why they do what they do and an opportunity to glean wisdom and inspiration from their practice. Thank you to my first Artist Profile volunteer Kay Bazley for welcoming me into her space and sharing her thoughts on life as an artist.

Why do you do what you do?

Most of my work is sculptural, although I have dabbled in printmaking and photography.  These days I tend to specialise in handbuilt ceramic sculptures and welded steel.  I don’t really know how I ended up doing this sort of work. My art journey has often felt like a haphazard process where I might be inspired by a chance conversation with someone,  courses or workshops I have done, or  an image from an exhibition, the internet or wherever.

I love walking in the blue mountains wilderness where I live- so plant life, the way the light falls through trees, beads of sweat on my skin, even a glimpse of rusted steel by the side of the road  – all these things seem to find their way into the forms I create, the ceramic glazes I make and the materials I use.

Can you talk about some of your recent work?

For the past few years I have been playing around with vertical forms in my sculptural work. I had been doing a lot of bushwalking (mainly to help me recover from some nerve damage and chronic pain I sustained a few years ago).  Anyway, we would walk for hours and hours through the most amazing wilderness.  I would catch glimpses of a waratah, or moss on rock, shadows, running water, bark, whatever. These visual fragments would all seem to stack up on each other, and began to come out in my ceramic work – like the totems on totem poles we associate with indigenous people from North America.

I started to learn how to weld steel so I could make vertical stands for these works, and then fell in love with steel and the danger and drama of welding.  So now I am beginning to make sculptures out of welded steel – sometimes they incorporate ceramic pieces, sometimes not.  I am very excited about this new direction.  And my work seems to be getting bigger and bigger, which is surprising because for many years I worked on a smaller, more intimate scale.

What is your background?

I am a psychologist by trade, and have worked most of my life in community services as a counsellor, community worker or a teacher of those at TAFE.  I have loved this work, although my artwork has been shunted to the side for way too long. I squeezed in courses where I could – at TAFE and National Art School mainly.  But for the past few years I have been allowing my art life to grow and to claim more space in my life. This has been a ‘challenging joy’.

  It is joyous because I love it.  But it is immensely challenging because it is involving a shift in my identity (geez when will I ever be able to call myself an ‘artist’ without feeling a fraud?).  It holds an uncertain future (what will I do for money if I don’t have a ‘real job’). And it endlessly challenges my confidence (what if my work is crap?).  As I write this I can hear the builder outside my window - noisily building me a welding shed.  Its part of my (expensive) commitment to my new life.  Exciting and terrifying in equal measure.

Is the artistic life lonely? What do you do to counteract it?

This is such an interesting question!  I’ve found that art has brought me so many people.  I am blessed with some really lovely people I would have only ever met through art. They inspire me.  We do things together.  We build community.

But certainly the artistic life can be an ‘alone’ life.  Its so different to my other job where I go to work in the public domain and am surrounded by people all day. So for many years I welcomed my art life because it gave me respite from all that energy going outwards.  But now the balance is tipping and I am spending more and more time in my art, and my solitary existence.  I am becoming increasingly dishevelled in my appearance (an unexpected freedom).  Sometimes its ‘lonely’, but sometimes it is blissfully ‘alone’.

I remember talking about this to an art friend recently, and she said that in those moments of feeling lonely and isolated she treats her art like it is a friend or companion.  What a beautiful insight, and a great comfort.

Whats the best piece of advice you’ve been given?

To ‘stand by your work’ and not apologise for it (or be ashamed of it).