NT Young Achievers Finalist
March 6th, 2023
⭐Last month I was nominated as an NT Young Achiever in 2 categories:
The Mindil Beach Casino Resort - Travel, Tourism and Hospitality
As well as the Glencore McArthur River Mining - Regional and Rural Initiative Award. I’ve now found out that I’ve become a finalist in both categories and it had me starting to think of all the experiences I’ve had in the Hospitality and Arts industry.
⭐HOSPITALITY
I began my hospitality career at Overlanders Steakhouse with Wayne (Krafty) Kraft, where I learned the high standard hospitality basics, and then had some formal training with Franco Mure at Charles Darwin University learning about alcohol, cocktails, presentation and service. I then decided to work behind the bar at the premier venue, Alice Springs Golf Club for 4 years in 2 year stints. I was shown how to run and handle events that ranged from 21st’s to weddings, to golf days and to memorial wakes. I was young doing this, and it was very much a learn-as-you-go type of workplace. I was glad there were some guidance from other leaders as well as the members whom I developed strong relationships with, and still have to this day.
I was happy to try out other catering side-jobs at Olive Pink Botanic Gardens, 3rd party hirers and volunteer functions to assist my growth.
It was when COVID hit, that I wanted to develop something else in my career and i was approached by the Alice Springs Cinema to come on board to help out! I never knew how much I loved movies and being able to share and talk about that with other like-minded people was nice. The service and hospitality aspect remained and I was given the opportunity to learn new things like how to perform public speaking while running events at the cinema, guiding young staff through their first job and learning how to promote a business through social media and networking. I still am at the Cinema and have a wonderful team around me and a great leader. I believe our team can win Customer Service Awards this year as well as implement and guide the younger generation in to that formal but friendly hospitality way of service so that they have those high standard fundamentals anywhere they go.
Wild Dog Rock
January 26th, 2023 (Completed)
‘Wild Dog Rock’ looks at how rugged, energetic and alive a site can be when you consider its place in the past, present and future. This site forms part of the Wild Dog Dreaming of Alice Springs and is a 5-minute walk from the Araluen Precinct towards Larapinta. It deserves environmental and creative attention due to the invasive buffel grass surrounding it, sheltering litter and promoting unhealthy bushfires. Many sites, like Corroboree Rock have been fortunate enough to have both Parks & Wildlife and traditional custodians working together for its preservation.
This is now the second painting of this site, which is uncommon in my practice, but clearly this means it is a place that gives. I love the feeling of loyalty, patience and longevity to a subject when so often your creative endeavor is fickle and forever changing.
Wild Dog Rock Painting
January 2nd, 2023 (In Progress)
110cm x 128cm - Acrylic on Canvas
This place feels grandeur, similar to places like Corroborree Rock in the East MacDonnell Ranges. A place that lets your mind wander is a place that needs to be celebrated!
It doesn’t take long before the wet season’s rain dries out and the ranges and buffel. The rocks become sun soaked and glisten with light and heat and the ground becomes flatter when the wind picks up the dust.
Wild Dog Rock explores an area on the west side of town that is often overlooked and left feeling a little on the wild side due to the overgrowth of buffel and lack of land maintenance. The formation, along with the small rock formation in the distance on the right side of the painting forms parts of the Wild Dog Dreaming story that is sacred to traditional custodians.
Just like Corroborree Rock, it would be nice to see a plan of natural revegetation of the area with mindful signage to boost this significant site’s look.
Advocate Art Award 2022 – I’m a Judge!
August 4th, 2022
I will continue to say that Alice Springs, Mparntwe should absolutely be leading the way in traditional and contemporary art in the NT and Australia, and its impact should be felt more across the globe. With the announcement of the National Aboriginal Art Gallery to be built in the next 2 years, we as artists, family members, volunteers, sponsors and arts workers have an incredible opportunity to continue to develop and showcase what the red centre is made of. I hope that this exhibition, along with the string of winter events have made waves across Australia already.
This year I did not have an artwork I felt was appropriate for entering an award, as the current body of work I’m working on is to be exhibited collectively. I was approached to be a judge this year for the 44th year of the Advocate Art Award - an all inclusive exhibition that has no pre-selection and features a mixture of emerging and well-established painters, photographers, sculptors and mixed media artists. I was over the moon and honoured to be considered for this process, and with excitement, I accepted right away! I knew straight away what I was looking for – artworks with connection to the landscape and the land we’re living on, in particular Alice Springs and the Northern Territory. I also was looking for creative exploration in their medium or subject, and technical merit.
Along with 2 other judges, we deliberated like a jury would on the fate of these 50+ artworks! We were indeed, judging a book by its cover, without of course being too ignorant about our knowledge of some of the artist’s names and achievements. It was an interesting experience learning about what these other 2 liked and did not like in a piece. We all very much were reminded to look at the work from another perspective rather than the initial gut feelings, which can be hard.
For those who didn’t visit the exhibition and won’t have the chance, here are a mixture of the winning artworks selected and some highlights from the exhibition. The show will be on until Saturday 13 of August, followed by a ‘Walk in the Art’ on Sunday the 14th, where artists will have a floor talk on their pieces. Please vote for the People’s Choice Award and spread the word!
If it weren’t for the artists, families, volunteers, sponsors and arts workers, this event wouldn’t be possible. So thank you all whom are involved.
Time to get back in to the studio and in to the bush!
The 42nd Alice Prize 2022 – Where is your head at?
April 24th, 2022
The buzz that surrounds the Alice Prize was somehow quieter this year. Whether that be the lack of interest on my behalf, or the marketing missing that captivating angle, or being untimely aligned with what it may seem as the opening weekend of Alice Springs Winter events. The general population of Alice, not just the art community should have more knowledge and interest in this exhibition. The richest contemporary prize in the Northern Territory now in its 42nd year, should be the talk of the town, a town that has arguably the richest artistic culture of Australia, not just through the western desert art movement, but through the multi-cultural, multi-disciplinary diversity, potential and influence the town possesses.
With the amazing announcement held at Araluen Arts Centre, where this exhibition is also held, that the National Aboriginal art Gallery is to be started in 2023, I found was a great move to gather interest in the gallery and the exhibition by Ministers of the Territory. This clever move, however, I feel was overshadowed by the crime-fueled debate the town is caught up in. Perhaps a call-out or transparent plea to the people of Central Australia, Northern Territory and Australia to support an event like this and to have a taste of what the future of Alice Springs’ art community will look like. Alice Prize and Alice Springs had an incredible opportunity to raise the calibre of the entries and absolutely showcase what the NT and the rest of Aus had to creatively offer, giving a glimpse of what what’s to come.
The Alice Springs Art Foundation developed the Alice Prize as an avenue for tourism in Central Australia and it is important as artists, and the general public that we remember it is a National Contemporary Art Award. This is a prize gaining national interest from artists. Finding 57 artworks across Australia to be displayed in the NT, and having those artworks bind together collectively that gives the show a sense of theme, connectedness and artistic, cohesive merit, but also to stand on their own. A difficult ask! This year’s show intended or not, connection to nature and Australia specifically though self-reflection and history was the clear theme.
I’ll start with Glen Namundja’s extremely precise, insightful and culturally orientated Top End painting titled ‘Kodjokkodjok’ (Two Brothers). One of the more traditional contemporary styles of painting included in the exhibition I was happy to see. Glen’s generous story of creation in the description and watching it eerily unfold on the painting in that Top End long brush style we all know, is in a class of its own. It’s as good as it gets. This painting received my vote for People’s Choice.
In second place, is a large photograph that is confronting, skilful, grounding and aesthetically beautiful. Taken by Linda Wachtel is ‘Neetu’, who as a young girl was covered in acid by her father and has lived an extremely unfair, challenging life. Now posing in her favourite attire, in a visually pleasing composition where you can’t help but notice the crack on the ground coming out of her dress, for me symbolises how an imperfection can resolute an idea or person. This is one to see in person, you’ll spend a while looking at it, too.
Other works like Brian Robertson’s linocut print ‘Uncharted: Astrolabe and Zelee in Kulgagal Country’, Hannah Cooper’s silk work ‘No place for their eyes to rest’, demonstrated the skilful merit of their specific practice. Works like Lea Kannar-Lichtenberger’s macro/micro painting ‘Forest Vision 1’ and Gretel Bull’s ‘Persephone’s Urn’ showed the audience the skill in the practice as well as the strong conceptual ideas that give the contemporary work strength.
To address the winning work, Tim Storrier said it best when he spoke to Maria Stoljar regarding the quality of Archibald Prize entrants, that maybe they shouldn’t award the prize this year so the calibre of quality in the exhibition can be higher next time. Was it because the calibre of quality this year wasn’t to standard that lead to a very questionable and controversial winner? I believe at least a quarter of the works in the exhibition had far higher cultural, artistic, contemporary, skilful merit. In saying this, the works selected for the exhibition were by some very established names in the art world; Vincent Fantauzzo, Lucy Stewart and Alison Alder with judge Lara Merrington. These figures are professionals and know the current position of the contemporary art world and the direction it’s going in, and without discrediting that, I question what direction and agenda was considered going forward picking the winner. On artistic merit alone, it’s not there. To be harsh, I would say pity over pretty was the criteria, but that theme can’t lead a contemporary art world, surely? Even though Vincent Fantauzzo is seen to be in touch with the general public and not so much a narcissistic painter, It would also be nice to see such a large figure in the art world such as share the prize or entrants or winner on his social media to gain more interest.
Overall, is the town too preoccupied with crime that this event did not receive as well as it could have? Is there a direction this prize and the general Australian contemporary art world is heading in? If so, what do you think it is? It feels a little lost. Can Alice still keep up and possibly lead the art world with convincing contemporary art? Once again, this is a National Contemporary Art Award, and so instead of allowing the general public to come away from the exhibition reassuring ourselves, “oh it’s just contemporary art, we probably just don’t understand” and instead question, “have I just experienced something that has the possibility and direction to make a big impact on the culture of Alice Springs, NT, Australia and the world?”
Where is everyone’s head at with this?
Online Catalogue - https://aliceprize.com/2022/?wc-api=wc_stripe%20&wpv_view_count=4649&wpv_paged=2
Tar-Vines and Ayepe-Arenyes
February 8th, 2022
After ‘Bush Tomato – The Early Coloniser’ was finished, I headed back to Olive Pink to discover the bushes had wilted and withered from the extreme weather. I found it quite fascinating that in less than a month, the bush completely transformed. The grasshoppers are still enjoying it, and the leaves make for good shelter for critters. Although the bush is dying, the ecosystem is still thriving.
My favourite part of painting the bush tomato plant were the Yeperenyes. Ayepe-Arenye is the Arrernte name. They brought such vibrancy to the painting with their fine dot markings on their skin, resembling the dot painting technique used by the locals. I was obviously now fascinated by their habitat and what else they liked to eat, which turns out to be Tar-Vine where the Yippies occur predominantly. A sticky, furry vine that grows along the ground up to 2 metres long but only about 20cm high. It’s leaves occur in pairs with one always larger than the other. Older brother pair I’ll name them! Seeds and flowers are produced at the tips of the plant, and they will stick to your shoe! Best be careful walking through Tar-Vine as the Yeperenye’s are always there, just very well hidden.
With that, a delicate painting of the Tar-Vine with Yeperenyes will follow this latest creative development.
Bush Tomato - The Early Coloniser
January 28th, 2022
At the helm of this exhibition is a painting of the wild bush tomato and part of it’s ecosystem. This plant is an ‘early coloniser’ as said by Olive Pink Botanic Gardens’ curator, Ian Coleman. An early coloniser is a specie that rapidly sprouts after an invasive specie has been rid of. In this case, buffel was taken out of the area and the first and most commonly spread specie to colonise the area was the bush tomato. This specie in particular is poisonous and I’ve chosen not to include the unenticing tomatoes on the stems to emphasise on its inedibility.
Usually I would never be out in the landscape, drawing in mid-December, but with the rainiest Summer in more than 10 years, the drawing outdoors has been plentiful! I wanted this work to reveal the energy behind this year’s fruitful summer.
The latest series of works!
November 18th, 2021
5 works have now been completed. (Edit: 7 now…)
4 were part of a mini-series that celebrated the Kapok Bush. All done with Acrylic on watercolour paper at 27.5cm x 36cm. The scale of my works have been decreased due to the subject matter – close-ups with native flora. The kapok series explored accurate representations of the subjects with conceptual compositions that reveal patterns in nature. Very happy with the end products, they kept to my initial native vs. introduced theme and allowed me to experiment in a new style and medium application.
The 5th work is an observational drawing of the lower part of a short-leaved Corkwood tree, a very sacred tree to the locals, that has been composited into an arid, paralysing scene that reveals what the leaves of the corkwood can be used for. I had dug out the buffel surrounding the tree and poured water into it where the opportunity for an animal to come and drink from it and become temporarily paralysed could be imagined. The buffel symbolises westernisation, but only some may recognize the specie at first glance. I’d like to continue representing the corkwood in ways such as accurate depictions of its features in creative ways, a strange depiction of it to symbolise a foreign nature, and stories that help contextualise it’s qualities and meaning.
All works have been on paper so far, which have turned out to be strong. I’ll continue until quality of paper and size become an issue. If I’m looking at another sketch composite, I’ll have to pay more attention to ‘Floating World’ by Hannah Murray for an effective contrast of graphite on paper.
What I want to create!
September 25th, 2021
I want to create art that cleverly and masterfully celebrates native flora. Using a botanical eye to capture the true arrangements a subject has but using a creative mind to display that arrangement in an original but energetic, evocative & euphoric manner. Taking my experience bushwalking through the landscape to find these subjects to give my audience and myself a transporting element to that moment. I’d like to create these works to help me continue being active in the landscape and give the audience a feeling of longing to be back out there, too.
The themes I want to explore will be predominantly social and westernisation influence on the subject. To display a work that has been adjusted to appear familiar but ‘strange’.
A native that looks introduced. A native gone rogue! An artistic license has come in to play, but without the inclusion of political and social subjects. Giving it back to the flora and letting that shine by using it’s natural form and a stylised form. Native Vs. Introduced.
(Notes to self) See Hannah Murray’s arrangement of works within Entropicana. See William T. Cooper’s masterful execution of native flora and fauna.
This will be a Mattgrantart arrangement. Dyptichs to show the audience the following; a drawing masterfully arranged and executed of the subject, with its counterpart; a painting of a stylised flora appearing familiar but strange, appearing as an introduced specie. 2 cultures side-by-side, neither different, nor the same.
What subjects will be at the helm of the exhibition? Favourite trees? What part of the tree? Should I wait to go back to Alice Springs for local content? I’ve already got 1 strong contender for the first dyptich and I’m heading to Cairns soon and sure to find another one!
I don’t want an exhibition of landscapes. I don’t want to give you something you’re expecting, I want to give you an exhibition of skill and creativeness at the highest level.
Dog Rock so far!
June 25th, 2021
Well, I’m 2 months in to this painting and I’ve set a date in mind to finish it, July 5th. Most of my large works are done in a 3 month time-frame, so I will be happy to resolve the painting sooner than that. Then comes the artist statement, pulling the project together in to a little bit of writing, which can feel both resolute and anticlimactic. With all the visits to the site, bushwalking, ideas being tossed around and the actual painting of the work, when you have to put it into 150 words or less, it can feel like a shortcut, so the words I do choose to resolve the project for me and for my fellow artists and friends, needs to be spot on.
Just like in my ‘More than one a day’ apple exhibition in 2017, I’ve used Acrylic paint in a transparent application to resemble watercolour painting. With the recent rains in Alice, this felt most appropriate, however that is the style I prefer to paint with. The light application of paint allows the landscape to remain bright and gives a sense of carefulness. A sense of care to be shown when out in the landscape and taking in what it offers.
I often day-dream about being out bushwalking and want this painting to resemble a realistic look at the site, but a euphoric, enchanting look a landscape can have on you, similar to a day-dream. Above are some progress photos of the work. I hope you are all enjoying the work so far and my journey exploring it. Lots to come!!
Below is my previous blog post about the idea behind the work to give you a bit more context.
Dog Rock - Alice Springs
April 25th, 2021
Dog Rock is located on the west side of town and is one of the first spots I was taken to to do some en-plein-air painting and drawing. After 5 years, I had this urge to spend some more time there. When the weather cools down, it’s usually the triggering point for this. Most of the locals pass this place to commute to work, so it’s not that we take it for granted, but it definitely deserves some more attention, especially now with the invasive Buffel grass thriving off the recent rains. However, that grass is introduced and is choking the ground, slowly killing the native species in the area and sheltering litter.
I’d like to paint this energetic place in a contrasting work that explores the idea of someone finding the area for the first time and appearing untouched, with the underlying issue of the westernised footprint that can’t be ignored, in the hopes to find some common ground where activating a clean-up workshop can be put in place.
You can find dropplings and bones, birds and stones, but the buffel choked ground makes it had to get around. It shelters the litter, this makes me bitter, lets pick up the rubbish so fauna can flourish, let’s make this place better.
I’m looking forward to meeting with a traditional custodian of the area to learn a bit about the significance, this will help form the painting currently underway.
The John Glover Prize 2021 - Exhibition Review
March 21st, 2021
Artists in 2020 have had minimal chances to be in the landscape due to lockdown restrictions, yet the largest landscape prize in Australia, held in Tasmania dedicated to landscape artist John Glover, flourishes with the most experimental, technical and wild landscapes. With 42 finalists out of 640 entrants, a growing number annually, the prize is more popular than ever! Well, with a $100,000 winning prize, why wouldn’t it be?
Despite the ever-experimental works year after year, essences of John Glover’s colonialism subjects and landscapes remain true in these contemporary artists. These artists are more connected to the landscape than ever with environmental conscious works that explore our negative involvement since colonialism but come out as works of absolute beauty.
The People’s Choice Award given to Peter Gouldthorpe ‘Inside the Snowdome’ of Cradle Mountain in Tasmania, is breathtaking. A pure emersion of a person in the landscape, capturing a moment in the cold that could never be duplicated and experienced in the same way. The composition is very unique! A MUST SEE!
I’m going to recommend the next painting to see is ‘Poatine’ by Tasmanian artist Robert O’Connor. The view of an old mine, taken back by the land is a simple reminder of the past, present and future. Colour and composition are the striking features in this work, balancing the growing greens and sitting browns of nature, with the rusted metals and blue shaded concrete of civilisation. The most humbled work of the exhibition.
There are some wildly passionate works in this exhibition that truly shows the artist’s love of the land and their practice. Others to see, Neil Taylor’s ‘Ice Age Fires’, Winner Sebastian Galloway with ‘View of Mt. Lyall through an Acid Rain Drop’ & Jason Cordero’s ‘The Expedition of the Artificer’. There’s only a small handful of some really less than average landscapes that only briefly hint the landscape has been the inspiration, and technical skill wasn’t taken into consideration. Overall, this exhibition beautifully and wildly celebrates Tasmania and makes me want to go! I urge you to keep up to date with their Annual prize and check out all their finalists. https://www.johnglover.com.au/about-us/
A Penny for Painting Post-Isolation
November 1st, 2020
The days working full time in the studio were great, Isolation treated me very well. Luckily people saw paintings on their wall a necessity, a bit of colour they forgot about before it all hit.
That moment sought many commissions, great, but tiring though, to this day. I missed painting my own sketches. I missed finding clarity from my own works. It didn’t come when painting for people, instead an agenda overshadowed. The ideal artist, the ideal practice, the ideal selling method - providing the balance of all aspects in the studio, health in the physical and mental should come from painting a work without the sale agenda, but being rewarded with a sale.
I don’t know how some commercial artists can have such a repetitiveness to their work and still be creatively stimulated. Such an impediment to the creative process.
Changing Jobs
August 10th, 2020
Winter Clouds have come, and with it a clouded head
A weathering toll coincidentally timed well
________________________________
When can we go home?
Go find a movie
Oh what a relief…
Too many to watch, it will past the time, though
It has become my pastime
15 years on
_________________________________
Matt the artist, Matt the barman
The art of mine doesn’t define who I ought to be, nor does the service I provide in hospitality
Clarity isn’t here, a walk without worry, a temporary fix, clouded now clear
The Territorian
June 3rd, 2020
Living in the Northern Territory, I often ask myself what makes a Territorian? Rather than a debate of ethnicity, or which lifestyle or material items define the term, I wanted to answer the question with a more primitive subject: The Perentie. The largest lizard in the country who is rough as guts, hard working for its food, quite attractive and gets along with the land.
The artistic people are represented by the pixelated patterns on the Perentie’s skin. The natural yellow dot work creating that pixelated effect translates into the traditional and modern dot works surrounding the center of Australia. Where the Perentie roams, the style adapts.
The Perentie hasn’t got the exclusive symbol for the whole NT, however to the Central Australian, it very well should. Although it’s subjective, and I will most likely shift the symbolism to a different subject, this one deserves attention.
Dry Brushing in a Dry Year.
April 24th, 2020
2019 didn’t give a lot of rain to Central Australia. I still remember the disappointment there was when clouds would roll in. Before they left you just knew they were there to tease. Soft white and fluffy, nothing convincing about them! They sure looked nice though.
Before starting my major work Corroboree Rock, I wanted to emphasise on the dryness of the land. I researched some styles to explore and came across dry brushing. Dipping a rough bristled brush into the paint, applying it to the canvas and work outwards in a circle motion until there was no pigment left to spread. Another form of shading essentially. A great technique to represent clouds. I didn’t want to apply any greys to imply rain was due, so I kept the clouds white, fluffy and dry. If the clouds were all following one direction, symbolizing the wind’s effect, it implied that they’re just passing by, teasing the land and keeping it dry.
The upside of the dryness was that there were barely any flies to deal with. Now, in 2020 after these recent rains, oh they’re back. The rain is an absolute blessing for the locals and the land and for the flies population -.-
I’m excited for winter where there won’t be as many flies and I can appreciate the clouds a bit more. Exploring a bit more depth in the clouds is due.
I like the dryness, it gives the arid landscape a true sense of how harsh it can be.
Style Resurgence
April 9th, 2020
2 days before there were limits on social gathering due to the coronavirus pandemic, I was at a house party where I sold an artwork I had finished 2 years ago. The style of work was nice and had potential but was still missing that flare an artwork should have. It was missing that glow a piece has when you visualise it and remember it in your head. The next weekend I had someone knock on my door, unfortunately I couldn’t invite them in due to the social distancing, I felt rude! That person was also interested in that style… “What is going on?” I asked my fiance’. I did a commissioned work for that person in that very style and the result was a refined, polished, glowing work that commented on my growth in 2 years.
I felt so energized from this, and so the leaf green works were created. Complimenting bold textural leaves with a soft, glowing background of similar colours was the vision, but I had no idea how well the styles would be attracted to each other. The previous works had shades of blue in the background with green leaves and I thought it worked at the time, but comparing the pair (as the Meerkats would say), greens worked better.
So what do you do with a successful style that sells?
You make more of the same/similar style to appeal to your audience. What happens when the works start to feel repetitive and unenlightened because you aren’t trying something new? Creative complacency could be it, having a fickle nature maybe, or it could be the lack of determination from a business perspective. As soon as that repetitiveness comes into the works, the drive is gone. Identifying the motivator behind the work is key. The 2 motivating factors for me are creative excitement that comes from exploration, and generating sales to sustain and assure me and my practice. Navigating explorative works that have good potential to sell is key.
A style’s resurgence relies on being creatively explored.
‘Memorialising in the NT’
March 10th, 2020
The memories of places I’ve lived are marked by two things: nostalgia and euphoria. Nostalgia comes to me when I remember somewhere fondly, and euphoria comes to me when new places and experiences bring me joy. I rely on these primal feelings to dictate the direction and mood of my practice. These two feelings, one of the past and one of the present, memorialises places I’ve come to love and allows me to feel contentment and connection to my current surroundings. Essentially, Nostalgia is a feeling of the past and Euphoria is a feeling of the present, and I don’t think there is one without the other.
I reminisce a lot and I would say 40% of those memories are of people I’ve friended and loved, family and the experiences we’ve shared. The other 60% is pictures and memories of the land, scenery and weather. Primarily, places where I have shared memories with family and friends. I wonder if this says something about my lack of awareness for conversations, behaviour and emotions. I think It’s a strong sense of visual learning that has partnered with my artistry subconsciously back then and consciously today. A visual side of learning that has carried memories through to my current practice. So it’s as simple as embracing these euphoric feelings of somewhere nice, so I can become happily nostalgic in future about where I’ve spent my time. An investment into the NT if you will!!
There is really no place I’d rather be than in this beautiful part of Australia. It’s such a giving place, and my works are a homage to this place that has given me so much warmth. A place of nostalgic euphoria.
‘End Reflections’
December 23rd, 2019
As the days draw near to the new year, I look back on what I’ve achieved. The things I did well and the growing and wisdom I gained, and how these events and feelings have shaped me and have come full circle to propel me towards another 12 months.
I remember in January feeling quite lost. The year prior was wonderful and I think I needed a bit of direction. Eagerly wanting to be given a grant to go towards time in the studio and an exhibition, I was unfortunate. I did however proceed to string together 14 works for a solo exhibition, ‘Buffel Busting’ at the Olive Pink Botanic Gardens. For 12 months, a body of work came together wonderfully. Polished paintings lined a well-lit wall with almost a hundred guests on the opening night. The exhibition and journey taught me of balance. How to balance my studio and artistry with community and environmental engagement that would feed back into my practice.
That feeling of lost was also present in my final high school year. My student counselor pressed on balance as a key attribute I needed to work on. It seems like every few years I am reminded of the need to balance my involvement with my interests.
Around the same time as the exhibition, I had also received a promotion at my place of employment. This came with many questions and anxieties. A promotion is positive, but with all my attention going towards my practice and the success of the show, this surely meant that more of my time needed to be spent studying my artistry. Once again, I’m reminded of the importance of balance.
The job requires excellent customer and social skills as well as good organization. 2 things that should polish my time in the studio. Now writing this, I’m realizing I might need to remind myself of those skills when creating. The club I work at has given a lot to me. The opportunity to showcase a permanent gallery of portraits in the foyer this December is a huge achievement that will need the first 3 months of 2020 to finish. Not only do the commissions for other works come from the club’s guests, but it’s their personalities and involvement in the club and our town that inspires me. Seeing these great people each day and week is positive, and I’m sure that positivity has had its impact on the vibrancy in my works.
There’s always going to be an emotional challenge. Understanding a situation for all its weaknesses and strengths is the best attempt you can make in finding sense. I found this battle not in my art, nor my love life or family life, but in an acquaintance. 2 very different people can clash in the most unproductive and unhealthiest ways, and sometimes, unfortunately, ego and culture stiffness acceptance can be the only comforting defense in making sense of the situation.
Time out in the hills of the East Macdonnell Ranges gave me a visual display of understanding situations. Using metaphorical comparisons of nature and people, I was able to accept the cheerless defense of this situation I was in with my acquaintance. This gave me incredible clarity. The landscape painting that depicted this clarity has since been sold to a guest of the club. Full circle revelations.
I spent a few weeks in the colder weather out in the hills which came with some great paintings, sketches and clarity in thought. With the warmer weather, it makes it harder to get out there, but more of a reason to be excited for the cooler changes. For now, Christmas is around the corner, the heat is here and let that remind me to not complain because of me gloating ‘the hotter it is, the less you have to wear’ and ‘there’s nothing like a heat nap’. Thanks mum, for this predestined infatuation with heat you were seeking en route to the Northern Territory from New Zealand.
I’m starting to realize the sources of my inspiration lay in the areas that seem to directly distress or elate me. Such as social situations, everyday people that make positive impact, weather that is enjoyable and painting something with technical difficulty. Pulling inspiration from existing and past practitioners is such a powerful tool to use and starting out, that was all I did, but it’s a lot easier now to realize a creation by painting and drawing with spontaneity and freedom. I think this has a direct comparison to commissions vs self-driven works, too.
This last week my first wisdom tooth has started to come through. Late bloomer, yes. I find it ironic for it come at the end of the year when it seems like everything is resolute. I’ve learnt a lot this year and maybe just by chance it’s come at the most appropriate time.
There’s a few things I do want to achieve next year, but who knows what will happen. I’ll leave it in the hands of the positive 2019 year to guide me.
‘Member’s Gallery, Alice Springs Golf Club’
December 15th, 2019
My involvement at the Alice Springs Golf Club began in 2013 working behind the bar. After a few enjoyable years I decided to work on my art practice a bit more and decided to get some work experience as a picture framer. Throughout those extremely insightful and enjoyable picture framing years, I honed in my skills as an artist, but found myself longing to come back to the Golf Club. As I tell people, it’s the social impact and influence that keeps me around. The club is filled with extraordinary people you get to see every week and they are just as happy to see you as you are to see them. The stories they share and their involvement in shaping the Alice Springs community deserves to be shared and honoured.
I’ve decided to make a gallery inside the clubhouse foyer where members, staff and the general public can view these portraits. With only 2 up to begin with, I’ve got 3 more planned! The people that I’ve chosen to paint are significant figures of the club, their families and the town. I encourage you to head down and have a read of their stories if you live in Alice, or head on to the golf course and enjoy the sport these figures love, to get a sense of their belonging to the club. Their stories are written below for those who aren’t local.
Working as a bartender and restaurant waiter is a great way to polish your social skills, it’s a great job for an artist that spends most of their time alone. The club and its patrons has treated me very well by giving me those skills as well as allowing me to be have an artistic contribution. The praise, feedback and commissions from the people that come through the club is truly motivating and humbling. They contribute a lot to my success, so the gallery is tribute to them.
Pictures framed by ‘Framed in Alice, Custom Framing Specialists’
Alice Springs Golf Club
89521921
admin@asgc.com.au
‘Leaping Lizards Gallery representation…’
November 26th, 2019
It’s time to drop these works off to the gallery. I was looking through one of my notebooks the other day and found an entry of the goals I wanted to achieve by the end of 2018. One of them was to be represented by Leaping Lizards Gallery. It’s my favourite one in Alice. It’s versatility and brightness is attractive and warm. When 3 of my works went in there and sold, I was absolutely elated. I truly felt that I was heading in the right direction with my practice.
Art and culture are 2 of the biggest reasons why Alice’s tourism industry is so strong. Having works in a gallery that depict the place we live in and its energy, and that respects the land we are living on is important for the local economy and culture. By giving something to a ‘tourist’ we are giving something back to the locals.
It’s great that a year on, my works are still going through this beautiful gallery, and down the line, expanding up to Darwin would be helpful in promoting the Alice, as well as networking and sales.
This series of works were done at Trephina Gorge in the East Macdonnell Ranges, on the outskirts of Alice Springs. There’s an 8 hour walk that lets you leave society for a bit and just enjoy an untouched area to ponder the landscape and the thoughts in your head. It gave me some clarity with a few things and I explored a couple of new techniques. Dry-brushing, clouds and a more general look rather than subject focused have come out of this small exploration. You’ll see these techniques and focus in my works to come. :)
For any enquiries with Leaping Lizards Gallery - Contact 0407827049
Blue Mallee Hill Significance…
The regeneration of a specie, and the cognitive importance to an individual.
October 27th 2019
I remember driving one day through the bush on the outskirts of Darwin as a kid, feeling devastated about the bushfire damage. My mum assured me it was a good thing and that the bush needs it. It was also interesting to hear from a friend a little while ago who works as an arborer, that when the seeds in the soil of some species reach a certain temperature, they open, and the tree/bush/plant starts to regenerate. Sometimes they regenerate through its trunks and branches that are still standing. Bushfires are such an integral part of the regeneration of flora throughout the world, very prominent here in the Northern Territory. A cycle that repeats itself over and over again. We live in a country of extremity, energy and inspiration.
I want to share its significance on my practice and process. The re-growth of promising leaves after natural ‘devastation’ comes to me as the generation of new ideas and growth in the practice. A painting has finished and so the leaves start again, a positive and necessary process. The leaves won’t grow back the same way, and I can’t duplicate my paintings. It’s time to move on. The hill is filled with this regeneration, leaving me feeling totally refreshed. The natural process takes its course, and it tells me to do the same. Not to overthink things, but show some understanding and let the next steps come naturally. Let the studio and career as an artist come in an unexpected and refreshing manner.
I encourage myself to feel more connected to what I study. These connections I make from my subjects into everyday life gives me an incredible insight into understanding my behaviour. It also helps me digest my social surroundings. When I go sketching in the bush, I’m obliged to say that the connection is already there or is given to me, rather than actively seeking it. That helps me convince myself there’s already a connection and I’m meant to be where I am, which is extremely enlightening.
Landscape Social Commentary
Thoughts from a hill - October 15th, 2019
Recently when I’ve been out bush walking on the trails and sketching, I’ve found myself trying to clear my head and understand anxious things around me. Conflict with other people is a big one. When we live in a society with so many cultures and strong beliefs, there is bound to be disagreements and differences in the way conflict is dealt with. Sometimes the only thing to do is walk away and leave the unreasonable situations alone, undealt with. I find this extremely unhealthy and unbalanced.
I get it, people are stubborn and have their own ways of dealing with things. If conflict can’t be resolved, move on. It doesn’t leave a healthy outlook on your conscience, though.
However, this does….
When I sit on a hill and stare parallel with another hill in the distance, separated by sharp spinifex and steep cliffs I see that person and their culture. I see them in the same position as me, we aren’t getting any closer to each other because of the terrain between us. There’s no way that hill is disappearing, and I’m also here to stay. I don’t feel comfortable climbing that hill, so I’ll choose another one around it. I’ll leave that hill and that unreasonable person alone.
The anxiety of that hill is still there, but at least I can identify it’s position and keep my distance.
I’ve always been a bit naive but the quote below sometimes humbles me.
‘People are shit’ - Love of my life.
2019 Part 2
September 20th, 2019
The 2nd half of 2019 has left me with a bit of a muddled mind in regard to the works I have underway and what works are to come. Following the success from the “Buffel Busting” exhibition in July, I’ve found myself to have an overwhelming amount of works that are commissions, leaving little time and thought to go towards works under my own conscience. Granted, the time spent on the exhibition left me very little time to do commissions, so I could say this is catching up on requests. After all, commissions are healthy, it builds relationships and your technical skills are refined. However, I do miss the time and conscious effort of developing a project or body of work. It gave me a lot of freedom and allowed me to put forward a more thoughtful approach to the execution and mindfulness that comes when painting.
I now find myself short of works for my website, leaving followers with a hiatus. It has also left me with no works in Leaping Lizards Gallery. I’m grateful that Ange is flexible and has given me all the time I need. I’ve recently finished a work that was a study for a much larger work to come, so I am unsure whether to hold on to it or put it out in the public.
Advocate Art Award 2019
Araluen Arts Centre, Alice Springs - July 25th 2019
5 years ago I was awarded the first time entrant Encouragement award, and since then, every year as an artist has been rewarding. This year I decided to put a portrait in the award and tell people a bit about my subject. Over the years I’ve worked at the Alice Springs Golf Club and served and chatted to one of our most loyal/entertaining and friendly members Martin (Marty) Geraghty. Most weeks he spends 6 out of 7 days at the club drinking his Iron Jack throughout the year and Guinness in Winter. He’s as Irish as can be, and when he’s had a few too many, he’ll dribble some Gaelic at you, leaving you bewildered and laughing. He’ll watch “Who wants to be a millionaire?” with you and that is exactly what we did when he sat for the portrait. It's people like Marty who keep me happy at my job, who also creates that friendship/family atmosphere within the club. He and others are happy to see you, and that reciprocates. His attire says a lot, it makes me so proud to live where I do, in the heart of the Territory, living a lifestyle that just can’t be beaten. Cheers, Marty.
Central Australian Art Society have put together another lovely annual exhibition for the art community. It is open to everyone with any medium. From professionals to amateurs, sculpture to drawing and traditional to contemporary. It’s a great opportunity for artists to have their works in a professional setting, side by side with some very renowned Territory practitioners. They have given me the opportunity to become an artist and thrive at it. Cheers, guys!
Sponsored by Bellette Media
Section prize - Faces
‘Martin (Marty) Geraghty’ - Pastel on paper
‘Buffel Busting’ Exhibition of Paintings by Matt Grant
Olive Pink Botanic Gardens July 12th - 26th
Alice Springs, 2019
2019 was the year for the exhibition! The second solo one. 3 times as big as the first! I think it would be wise to do a solo expo every 2 years, gives me enough time to plan, and do other things in the art world and community. Wow!! What a great night. Safe to say this was probably the nervous I have ever been. I was running around on the day like a headless chook!! It was definitely worth it. It felt like a success with 60 - 70 people showing up, 11/14 works sold and my cheeks were hurting from smiling. It was last minute, but I had another Central Australian artist accompany my works with some of hers. Thank you Amee Porter!
Alright, Buffel Busting... Over the past 12 months I started creating works that celebrate the efforts of the Alice Springs community ‘de-buffelling’ the landscape. In particular Alice Landcare and Olive Pink Botanic Garden’s staff and volunteers. Their efforts in restoring the landscape to what it once was before westernisation was astounding. To see the native species flourish without this pest of a grass was incredibly inspiring. For those who aren’t familiar with Buffel Grass, it was introduced to Alice Springs in the 60’s and 70’s to control the dust in the town. It was also used for pastoralists. The community quickly learnt of its adverse effects on the land. The grass (now considered a weed) burns at a much higher temperature than most native species, so when there is a bushfire, the buffel absolutely ravages the landscape. The fires this January out West is proof of its destruction.
I got a call from my past lecturer and good friend Henry Smith asking if I could give a hand in pulling the buffel out where he had been tackling it over the years. It was a 10 minute walk into the bush where you would come across this hill that we all know as ‘Henry’s Garden.’ What I saw was so inspiring, I had to document it in some paintings that would celebrate this area and his efforts. 4 works came from this hill.
I wanted to know more. So I picked up a mattock and joined the buffel busting at their weekly and monthly effort. Each person had their own outlook and views on it, so I thought it was important to express that with some portraiture in the works. "Let’s save some trees!” Was the brief before a bust which always made me smile!
Spending time outside with the landcare groups physically exerting energy and getting to know the subject really brought a feeling of balance to my practice. I feel I’ve only scratched on the surface and there is plenty more work to do in and outside the studio regarding buffel and landcare which is exciting!!!
Double Portraits!
Double portraits always poses a bit of a challenge. Being right handed, the person on the left usually comes first, otherwise I’d smudge the person on the right! You’d get that problem either way, so maybe if I learn to paint with both hands, I’d smash them out!.. Anyway, I’ve started to incorporate backgrounds a bit more, of which I’m learning a bit about. It gives a bit of context to the piece, and makes it more personal for the subject. The framed landscape hanging helped to compliment the shirt and skin tones, as well as giving the work a sense of overall balance.
In the photograph there was actually 2 more people between Roger and Judy, so re-positioning Judy slightly in front and right next to Roger was a task and a half.
Oh the trial drawings were funny. Sometimes when I’m sketching a person out and it looks nothing like them, it is the funniest thing to look at. I take progress photos of those… but won’t share them. That’s for my entertainment….
It’s great to see people wear clothes that compliment their skin colours and subconsciously suit each other as a couple. I think they nailed this one.. Finding ways to accentuate features of both Roger and Judy was my goal. This enabled me to create a balanced work where neither would dominate and draw too much attention.
Balancing double portraits. Double portraits balancing…
‘2019 Summer Life Drawing’
Session 2 - February 2nd
Once again, Mats modelled for the artists of the Art Shed and did another great job. It’s his 2nd time modelling, and he has some natural skill! There are some models where you really look forward to spending a bit of time capturing their personality, physical features and overall vibe they bring to the studio, Mats definitely does that for me. It’s great learning about his travels, his tattoos; where and why he got them and all his stories and the conversations that happen in the studio help to create his aura within the sketches.
If anyone wants to come down for a session of drawing on a Saturday, feel free to give me a message! Or even to model for the artists! Otherwise you can find details on the life drawing we do on the Central Australian Art Society website. They are incredibly welcoming and it’s a lot of fun!
'2019 Summer Life Drawing’
Session 1 - January 12th
The new year usually starts with the most refreshing trip to Melbourne with friend and lecturer Henry Smith. We attend a 10 day Drawing Summer Salon at Princes Hill Community Centre, working with 2 models a day, both short and long poses. Together with the beautiful Melbourne summer, it really sets the tone for the year. Unfortunately we couldn’t make it this year, so off to the Art Shed in Alice Springs through Central Australian Art Society so I don’t miss out!
A good turn out! 8 artists, 1 model, 42 degrees! Recently introduced to the modelling scene through his partner, Mats Daehli did a fantastic job modelling. His beard, top knot, tattoos and other identifiable features allowed for some good sketches. The above sketches range from 2 mins to a 20 minute sketch. I’m happy with the results, but more so happy that they’ll serve as warm ups to the Senior Territorian Portraiture Award and has set the tone for the year, sufficing that Melbourne feeling.
‘The Self-Investor’
January 10th 2019
Every now and then I have an urge to create an artwork that I just want to have a lot of fun doing and is intuitive. It’s refreshing and makes me work a bit harder, as I attempt to piece together a resolute design from unlikely compatible subjects, styles and colours. This piece has me thinking of things that influence my practice. Taking it in or rejecting it, I’m trying to piece together the ideas, subjects, experiences and relationships that form the current practitioner I am.
The current practitioner I am is not totally scattered, despite the tangents I go on… So many styles, subjects and ideas are attractive and that is a lot of fun. When I’m drawing portraits for weeks on end or creating a body of landscape pieces, these conceptual works serve as a healthy addition to the portfolio by keeping everything fresh and experimental.
‘Alice Springs Street Art Festival (Ross Park Mural)’
November 10th 2018
It was a huge privilege and loads of fun helping Melanie Gunner complete this mural on the Ross Park Soccer field shed as part of the 2018 NT street art festival. Melanie was born and bred in Alice and loves it to bits! Her memories, friends, adorations and appreciation of Alice all form this beautiful, bold and bright work of art that will make the locals proud!
Alice Springs was included in the NT street art festival funding from the government, where we saw interstate and local celebrated and emerging artists all come together. Beautiful works across the town have amplified the vibrancy Alice already has and it is incredibly exciting to be part of it. I’m super excited to go to Darwin to see all the murals completed there. I hope these projects can bring people to the NT, bring traditional custodians and settlers together and give us all a sense of connectedness as we all share a love of art, support and kindness.
If you are around Eastside, make sure to check this beautiful work out, as well as if you want to see more of Melanie’s art, check her Instagram out! @melanierosegunner. Thanks for doing such a fantastic job, Mel! You are an inspiration!
‘Centralian Advocate Art Award 2018’
November 1st 2018
Inside the Exhibition!
Thanks to all the sponsors for making another year successful and worth boasting about. Thanks to Araluen Arts Centre for the beautiful and professional space and handling. Thanks to all the artists who entered, the work was incredible.
I knew it had to be a good night when it started off with my partner and I all dressed up to go to my friend’s burger van.
On arrival, the atmosphere was electric and everyone was eager to see the talent on show this year. There was such an overwhelming feeling of gratefulness and excitement to be around so many artists and friends. This award is very important to me, having won the Encouragement award for a first-time entrant in 2014. My first experience of the award was so welcoming and supportive and it always brings together established, long practicing and emerging artists with no exclusive theme or medium. A great community art event for the town.
This year, the calibre of works was very impressive! The technical skill of ‘Rubble’ the winner of the Excellence award covered so many areas of relevant topics and styles in this contemporary society, well deserving the accolade. Drawn in ink, a field of discarded household items are merged into a pile of rubble with intrigued crows walking amongst it.
The first artwork to grab my attention was a close-up, delicate still life of eucalyptus leaves and their seeds in a clear vase painted in oil. The pastel-like tones together with the realism kept it simple, modern and skilful. A lovely little piece worth admiring. If you would like to see this work by Anna, check her Instagram page!
There were interactive pieces, one being it was unintentional, I just had to get in on it! It was all a lot of fun and to be a part of it, gives me such a feeling of connectedness and belonging. To the furthest parallel, it is a feeling of tracing the footsteps and feelings of the masters, knowing they were in very similar positions once.
You know you had a good time when you were the last 2 people in the exhibition being kicked out for closing time, haha.
‘Buffel Grass Busting’
October 25th 2018
"Henry's Garden"
(before buffel removal)
Kurrajong Drive
For 12 months now, I have been heavily engaged with studying Buffel grass, a weed introduced to the Territory over 50 years ago. It's now considered a pest in South Australia and the locals here are doing a lot behind the scenes to eradicate it. There are currently 4 local landcare management groups in town tackling the weed head on by going into the hills and safely removing it away from the native species. My aim is to learn from these busting efforts and produce works that creatively explore the Buffel's damaging effects on the land, as well as its connection to the land now that it has been identified as a pest.
Alice Springs Landcare have an incredible community spirit who are very welcoming to any helpers and tackle a variety of environmental concerns. If you would like to get involved you can find them on Facebook or their website.
To keep up to date with works and my creative process, follow me on Instagram and Facebook or head to the shop where you can buy an energetic piece of art. :)
‘More than one a day!’
October 10th 2018
Certificate 4 in Visual Arts Exhibition 2017
To finish off my Certificate 4 in Visual Arts, a requirement was to exhibit a body of work. I chose apples as the core of my exhibition. Its versatility in the arts has been explored for centuries so why not have one more? ‘More than one a day’ refers to my idea of painting and drawing more and more every day. Simultaneously, it also serves as a push for people to eat more than one apple or more than one piece of fruit a day. The study explored consumers’ role when they buy apples, what apples can represent symbolically and how can apples be manipulated and represented in multiple creative ways.
It was my first solo exhibition, which allowed me to obtain a Certificate 4 in Visual Arts at Charles Darwin University. It was great to see my lecturers, family, friends and people I didn’t know come and show their support. It was small, cozy, fun and humbling. Thanks everyone for sharing it with me!
These designs played a major part in my Buffel grass conceptual paintings that were to come and served as a great stepping stone for my creative process and art career.
‘Intro!’
October 19th 2018
Spinifex Country, West MacDonnell Ranges
GLEN HELEN RESORT TRIP, 2018