Q&A with Katrina Rhodes
A while back I reviewed Katrina Rhodes’ show at No Vancancy - below is a Q&A with the artist.
Describe the project you’re working on at the moment?
At present I am concentrating on making an extension to my studio, as over the past year it has seemed to Implode with endless brushes, canvas and general painting supplies. I have two commissions in which I need to start, but during the days now that my show has come to an almost sell out close, I am commissioned to design and execute gold leaf ceiling designs for a mansion in Toorak. Let’s just say I can’t wait to get my next show started.
What inspired you to make this piece/series?
What inspired me was merely the fact that I wanted to do something for myself. Over all the years I have been a painter that has had to follow the briefing or had to work within the restrictions of a client or directors limits, someone else always takes the credit in those scenarios. Whether that has been interiors or film or theatre the story is always the same the artist is left at the end of the day walking away from a masterpiece, that same artist can never take any ownership. I wanted to create something that helped me find happiness and in turn, create smiles around me. I have always been curious of the old masters in painting and have always worshiped their commitment to what they do. Call me self indulgent if you like, but this is the way I like to learn. And to chose a subject matter for me comes with a much more organic experience. I just go with the flow and let the subject matter take me for a ride. I trust what I paint, and I have every faith that it will take me to my dreams as my dreams take me to my subject matter.
Your recent exhibition “A Handful of Civilised Friends” features characters from a re-imagined past, was there something specific about this subject that you wanted to explore?
I was having a quiet little giggle as I was creating my work. Past portraiture is so serious, and well, so it should be really. It is the best form of documentation and close to the most accurate. A little bit tongue in cheek ‘methinks’ is a good way to describe my subjects. I will confess to giving the greatest compliments to the master painters whom created the works of the past, for obvious technical reasons, yet don’t mind having a wee stab at the dandy, arrogant subjects that they are executing with their brushes. If only we could have a world where the hunted could reign as the hunters. If only in an ideal world us humans could hand the power over to the very creatures we shoot for sport. Or maybe, just maybe we could step into the mind of the water fowl just for a day to really find out that life could be as simple as working with the seasons, taking care of our young and communities, fishing for ONLY what we need is the key to plentiful future and reminding ourselves of the most beautiful and simplistic things such as the day we learned to fly. If only life could be that pretty.
What would you like viewers to take away or remember from your work?
I think my work is always taken away by the viewer in a positive light. People love to make up their own stories about the work and that’s really the aim of it all. I am not one to try and explain my mad ideas as random or as simple as they may be. I just want a few imaginations to be sparked and a smile to grow at the memory of the work. The people who own one of my pieces will always own something that lightens their lives. I wish for joy at each viewing and childish curiosity is all.
What is it like being an artist in Melbourne in 2011?
I really don’t know what other artists do as this is all new to me. I structure my life to suit my painting. I have created a world of my own, a bubble one might say, and if it’s okay with everyone I want to keep it that way, as its better for me as a sensitive person and kinder to my art. I will promise you though; I will make being an artist in Melbourne work for me.
What is a typical day in the studio like for you?
My typical day is always a little clean up. I am not so good with things being untidy; it really does my head in. I will drink tea, smoke a cigarette before I get my paints all set up to go. ABC Radio National is mostly playing in the background, other wise its some Opera or light Jazz. My studio partner loves a chat, so I just listen to him natter on and find myself getting totally lost in what I am doing. I need reminding that food is important at lunch, otherwise I wouldn’t stop all day.
Do you have a favourite gallery?
The National Gallery. Otherwise, sadly no I don’t
Artists often have a day job to support their work, can you comment on this? Is it necessarily a bad thing?
I have a job that actually keeps me fresh with my craft. Anything you do 5-6 days a week will eventually get stale. I work as an interior illustrator and concept designer for homes and bars etc. I have a small history in interior design and decorating. Working from home on this for me is the perfect solution to any other work. I have a good set up.
I think that it’s unfortunately essential for artists to have outside work. And I also think it could be considered a good thing for the artist. We all need to find out inspirations somewhere, we all need to get out and about to have a story to tell at the end of a day. It would be too easy for the artist to fall into isolation. And being such sensitive dramatic folk, the artist always needs to be dragged out of his or her own self once in a while. After all, we are all tortured creatures.
Critics: friends or foes?
Neither, I am my worst critic
What advice do you have for budding artists?
Just keep going. I know I will.
Photos by Zara Albion-Lawson, from www.the26thletter.com.
