In the frame

Ke r r y A rm s t ro n g This artist has the choice of two stu­dios for her cre­ative en­deav­ours.

Belle - - The Of F Ice - Pho­to­graph TIM O’CON­NOR

HOW WOULD YOU DE­SCRIBE YOUR STU­DIO? I have two – I’m al­ways ob­sessed and at­tracted to one or the other, I never paint in both! One is my home stu­dio, with beau­ti­ful french doors out to our gar­den. It’s sti ing hot in sum­mer but a quick dip in the pool keeps me re­freshed and fo­cused. My sec­ond stu­dio is at Stu­dio Gallery Mel­bourne, our Chel­tenham art gallery, a 750sqm con­verted ware­house, and I’m one of 38 artists who work and ex­hibit there. I’ve carved out a very gritty, cool space and I love it. WHAT AP­PEALED TO YOU ABOUT THE SPACE? We bought our home be­cause of the stu­dio, it has an en­ergy like I’ve never felt be­fore. Next year will see an ex­cit­ing ren­o­va­tion to vault the ceil­ing and bring in even more light. The gallery stu­dio has fan­tas­tic in­dus­trial grid­ding to hold my over­sized work and hang all my oil paints which I now buy in calk­ing guns to ac­cess more paint faster. WHAT ARE YOUR WORKSPACE ES­SEN­TIALS? Head­phones, milkcrates, my an­tique sofa which I’ve slept on af­ter late night ses­sions, and the worn-out cof­feemaker! WHAT IS UNIQUE ABOUT YOUR WORKSPACE? The gallery stu­dio has a su­per cool vibe. The huge Bel­gian li­nens I work with are stretched on site then sim­ply walked over. Once painted, they’re straight into the fram­ing shop. DE­SCRIBE THE VIEW FROM YOUR STU­DIO? Quirky gar­den view from the home stu­dio; in­dus­trial grids, old brick­work and black steel win­dows at the gallery stu­dio. DE­SCRIBE A TYP­I­CAL DAY? Off to a slow­ish start, I try to be in the gallery around 9.30am. Typ­i­cally I’m in­volved with ad­min­is­tra­tion tasks un­til late morn­ing. I love meet­ing with clients of the gallery – it’s so re­ward­ing. Early af­ter­noon I feel the draw to­wards the paints and I cir­cle around it with a dash of ‘pro­cras­ta­clean­ing’. I don’t pres­sure my­self to con­nect with the work. Late nights are pow­er­ful times to paint, the en­ergy of the stu­dio is quite sur­real af­ter dark. My paint­ing lan­guage is ex­pres­sion­ism so I don’t mind ‘less than op­ti­mal’ stu­dio light. Meet­ing the work the next day ‘vis­ually’ is of­ten won­der­fully sur­pris­ing! DO YOU USE YOUR S TUDIO TO EN­TER­TAIN CLIENTS? Yes, our open­ing ex­hi­bi­tion was very ex­cit­ing with more than 500 guests! WHAT IS A DREAM WORKSPACE OB­JECT YOU WOULD BUY RIGHT NOW? A Mother­well for the wall. IF YOUR STU­DIO WERE LO­CATED ANY­WHERE ELSE, WHERE WOULD THAT BE? Italy – with­out doubt! ANY UP­COM­ING EX­HI­BI­TIONS? I’m plan­ning three ex­hi­bi­tions in 2019: Syd­ney with .M Con­tem­po­rary, Stu­dio Gallery Mel­bourne, and one over­seas.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.