Why do I do what I do?

2018.

I credit my sister for suggesting I could help artists in the area of artist residencies. She had been encouraging me to step out and create something of my own, alongside my art. She was planting many seeds. I finally got the watering can and added some water.

I had been awarded and undertaken several international artist residencies. They have impacted my art and life in a myriad of different ways, namely injecting adventure and possibility straight into my veins. I had good knowledge, I loved the topic, I understood without a doubt I could help artists, and importantly I wanted to. My mentoring work grew from there in a natural way. It evolved into Evolve, Evolve Next Level, Fresh Eyes and now Make Exceptional Work.

I am in the fortunate position of being able to sit down with artists, and get to know them and their art, their dreams, and their sore spots. It is more than just the art; it is about getting to know the creator. I am regularly astonished by the talent, creativity, rare thinking, determination, and vision of the artists I work with. I have conversations that range from pareidolia to the Yellow-throated honeyeater, to Clarice Beckett and the standing stones of the Orkney islands. How can this not be incredibly stimulating?

I am walking the same path as the artists I work with.

I know, acutely, what it is like to sense the potential of your work and not know how to make it happen, to falter, to feel like no one cares, to get knock backs, to ask ‘is it worth it?' I also know what it's like to have built up recognition and have the desire to shift or expand into a new area. It can be uncertain and risky to do this. 

I have been very fortunate. I have life experiences, work experiences, and have developed a wide skill set. It is important to share this and support others in taking action to make better work, have their work seen, and communicate with greater clarity and confidence, finding or fine tuning their voice. I am able to help artists navigate through the hard stuff, put themselves on the line and find their groove. I am invested in their groove. 

This work is a mirror to myself and my own art, and my own life. If I am suggesting to an artist that they must protect their time in the studio with a vengeance, I better be doing that myself. It’s good for checks and balances.

Writing this to you has really made me think - why do I do what I do?

I encourage you to do the same. You may be surprised and even rekindle something that may have dimmed.

The photos. 

2003. Head down, decorating a pot, at Box Hill TAFE.

2021. Leading the Fresh Eyes group writing challenge for visual artists.