W
elcome
to the first BSA graduate yearbook
and Interview Project publication. Within these pages, we celebrate the achievements of our 2017 graduating students. Included also, are the fruits of their final course project; which was to research and conduct an interview with an artist of their choosing. We hope that you enjoy reading these interviews, which provide insightful glimpses into the practices of artists: Helen O’Leary, Ree Hegh, Christine Willcocks, Amber Wallis, Andy Forbes, Chato Kato, Raymond De Weerdt and Leah Thiessen. The Byron School of Art, now in its fifth year, has established itself as an important and much loved educational facility in the Northern Rivers. 2017 saw the school finally amalgamate under one roof, in an old deco building in Mullumbimby. With the support of the building’s new owners, the school now has three dedicated teaching spaces as well as the BSA Project Space, with its diverse program of fortnightly exhibitions. The BSA thrives on the committed and inspired interactions between staff and students and offers its attendees a rich experience of studio-based learning with artist teachers and guest lecturers of national acclaim. It is a great pleasure to witness the evolution of students as they grapple with the challenges that invariably accompany the development of an artistic practice. The gradute students of 2017 are the second group to have completed our three-year program, and will now join what we hope will be an ever-expanding alumni. Together they have expanded their thinking and creative practices and are establishing themselves as part of the next wave of emerging Australian artists. We applaud their efforts and wish them every success, and hope that this path of exploratory learning is one that will continually inform them throughout their lives.
From ALL OF US at BSA
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I was seeking some sort of conceptual framework for my practice. Slow philosophy interested me a lot. It embraces sustainability and environmental issues as a whole, and is a very holistic approach to human life. Q: What stands out for you when you remember the first installation you ever created?
I felt liberated. I loved painting/drawings, but I always felt that they were so static. I love installation because there are so many ways to work with the space. Installation is dictated by environment/space, and I see myself as the interpreter between that and the materials. Q: As a collective what are your biggest challenges, and how do you navigate the art world?
Our first few years everyone had different priorities, focus, expectations and passions. But we did really well regardless. Now Dylan and I run the collective as core members, and we include other artists depending on the type of project, budget, expertise, etc. to collaborate with us. Working with other artists offers new perspectives, new ideas. It encourages negotiation and becomes an exercise of what I can do in the small time frame. We often have very limited time to create a large scale installation. It is quite intense sometimes but always fun to share the challenge.
slow philosophy interested me a lot. it embraces sustainability & environment issues as a whole & is a very holistic approach to human life
Q: Can you tell me about your biggest disappointment and your greatest success or joy so far?
Greatest disappointment: We have been very lucky. Only a few of our projects didn’t go ahead because of sudden funding cuts. Greatest success: I think each step has been a great process. I’ve enjoyed all the projects, from small art festivals to the NGV commission. Powerhouse Museum in Sydney in 2016 was a huge project. It went extremely well and attracted almost 80,000 visitors. This year we did an artist in residence program at Huntingdale Primary (Artist in School program from Creative Victoria). For 2-3 days a week over the course of a month, we worked with grade 6 students. That was a truly wonderful experience. The feedback from the students was quite interesting. For them, the highlight was getting to know their classmates so well. The art activities (like weaving, making pom poms, etc.) provided a wonderful communication platform. That is ultimately the greatest part of slow art! Q: How has collaboration, and working with community, contributed to you as a person, and as an artist?
Collaboration enriches my practice, and nourishes me. I’ve learned a lot from other people: different ways of thinking, approaching, working and negotiating. Each project presents challenges, but each time, someone comes up with solutions. Q: Your work invites the viewer to participate and interact with the objects and spaces you create. What kind of experience do you want the viewer to walk away with?
I like to provide different levels of artistic experience depending on the audience’s background, knowledge level and familiarity with contemporary art. I believe all people need artistic experience to stimulate their senses and enrich
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artist raimond de weerdt interview by tanja taljaard
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artist interview slow art collective christine willcocks
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BSA Directors and Teachers Christine Willcocks – Director & teacher Michael Cusack – Director & teacher Emma Walker – Director & teacher James Guppy – Director & teacher Sarah Harvey – Director Meredith Crowe – BSA Project Space co-ordinator Joanna Petrou – Enrolments & administration Casual staff and guest lecturers Kat Shapiro Wood – teacher Dominique Sutton – teacher Rene Bolten – teacher Amber Wallis – teacher Raimond De Weerdt – teacher Matthew e. Baird – teacher Lindy Lee – Guest lecturer Brent Hallard – Guest lecturer Tony Dennis – Guest lecturer Michelle Eabry – BSA intern Sabine Pick – Graphic design B/W Portrait Photography – Emma Walker