Making her mark

A light-filled loft cradles this artist’s expression.

TELL US ABOUT YOUR STUDIO? It is in the old Coote and Jorgensen Engineering warehouse in Sydney. Original windows and high ceilings bring in amazing natural light. I feel fortunate to create here. WHAT APPEALED ABOUT IT? The large factory-style windows came as a surprise when I inspected – they were boarded up and, once revealed, lled the studio with gorgeous warmth. I knew it would cradle my process. The area is divided so we can all work independently yet feed off each other’s creative energy. WHAT ARE YOUR WORK ESSENTIALS? Mineral water, coffee and food to keep me going. Headphones let me dive into my own little world. My most worn-out brushes create interesting marks and move differently on a canvas. WHAT IS UNIQUE ABOUT THE SPACE? It houses a number of full-time artists. In an industry that is dif cult to navigate, it is lovely to have found a group to share a space with. Remnants of the past peek through – the giant engine hidden in the ceiling and the terrazzo oor that has been painted over. DESCRIBE A TYPICAL WORK DAY? I look back over the previous day’s work. Pre-planning over coffee sets me up before I jump into painting, at which point I put on headphones. I become engrossed in the project and hours evaporate. Then it’s time to return home. DO YOU USE THE SPACE TO ENTERTAIN? I often invite clients to look at work and have a chat. Being able to engage them in the space where it all happens allows me to share in the process. AN OBJECT YOU WOULD BUY NOW? Can I ask for a swing? I am not sure how I would attach it – the ceilings are so high. IF

YOUR STUDIO WERE ANYWHERE ELSE, WHERE WOULD THAT BE? In the middle of a busy city like New York. I am an energetic person. YOUR ENDURING INFLUENCES? Hilma af Klint. I was in awe of ‘The Secret Paintings’ at the Art Gallery of NSW and her story. Action/Abstraction is a book I have on loan from a friend. House of Gucci and Stravinsky’s Lunch. Louise Bourgeois for her ability to work between mediums and express herself with tenacity. Yayoi Kusama for installations enveloping a universe of her own creation. HOW HAS YOUR WORK EVOLVED? On a personal quest, I went to art school. Not to become a full-time artist – I had no expectations about my work or the possibility for it to sustain me. I had the privilege for it to be an expressive, experimental period. My work has become bolder, more con dent. The joy of the new and anticipation of the unknown is thrilling. WHAT ARE YOU WORKING ON? A blue series called ‘Vice and Virtue’ about the journey of discovery, engaging with the materials I work with and the obstacles and breakthroughs that have led me to this place. ‘On This Island’ pays respect to the experiences of migrant communities. Abstract marks represent and embody the labouring and sacri ce of my parents. History and identity is articulated through emotion and abstraction. WHAT PROJECTS DO YOU LOOK FORWARD TO? A performance piece with my gallery in Melbourne, James Makin, in their new space designed by architect Tristan Wong of SJB. Based on ‘On This Island’, it is an endurance piece in which I paint live for ve days. antoniamrljakart.com