Nillumbik Artists Open Studios: November

  

Nillumbik Shire is a cradle for the creative souls. Visual artists, culinary masters and wine connoisseurs alike find this woodsy mountainous region inviting and nurturing. The region is a stone’s throw from civilisation, and yet with an unexpected turn onto a dirt road, one would swear to be hundreds of kilometres out in the bush.

It is not often that I venture out of the city. I enjoy nature, however... work and personal obligations keep me in the midst of the concrete urban bowels. I don’t complain, because I’m quite content with my environment. It is on the rare occasion, that I get to engage my four wheel drive’s full potential, feel the gravel under its wheels, and gaze into the turquoise coloured skies, dotted with perfect fairy floss-like clouds, that I begin to toy with the ‘what if...’ question. “What if, I lived in the country, and worked from home?”... I could do that. “What if, I packed a lunch, canvas and paints, and spent a weekend painting?”...I could do that too. What helps stir me up even more, or shall we say... what seems to make matters worse for ‘the indecisive me’, is when I meet artists who live in remote rural areas, who are not only happy, well adjusted people but are thriving creative entrepreneurs. Such was the case this past weekend, as I visited a number of artists taking part in the Nillumbik Shire Open Studios project (until the 28th of November). I was enamored by the individuals I met, admired their creative talents and envied their lifestyle. I once again flirted with the idea of uprooting my family and being part of a creative community.

Open studios are an enriching experience. It opens an exchange between artists and visitors, which normally would not be so readily available in a gallery, or at a workshop. A rapport is easily established; questions are welcome and encouraged. It never ceases to amase me how willing the artists are to share information about their techniques and tricks of the trade. In today’s world, this nobility is unheard of, and to witness it is humbling.

Over the course of two weekends this November (20th, 21st, and 27th, 28th) 34 artists and 24 studios once again open their homes and creative work spaces, showcasing disciplines including, drawing, jewellery, sculpture, ceramics, photography, printmaking, textiles and painting. Having visited the Eltham region in May, I focused on the Region 2 and 3 this time around, a bit further out from the city, but as I found out, not much harder to get to.

Before embarking on my studio hopping journey, I stopped at the Samson Hill Winery & Restaurant to get ‘properly fuelled’ for my adventure, (ironically, no wine was consumed). Visiting the winery, and taking in the grape vines laden vista 360 degrees around the main restaurant, ‘magically transported me’ to the Napa Valley in California. I had a little bit of home with me that afternoon; it was a lovely start and it’s where we picked up the very handy Nillumbik Artists Open Studio brochure, which featured all the artists participating in the event and handy maps.

Not far from the winery, the first studio on my map was Jane Annois’ studio (no. 13 – zone 2). Jane works in clay. She focuses on two techniques, the Japanese Raku (literally meaning, ‘enjoyment’ or ‘ease’) and the French terra cotta Terre Vernisee.

Jane Annois was quick to welcome me and my little ‘entourage’ (daughters), show us around her garage/show room, filled with splendid examples of her polar opposite styles of pottery. She pointed to particular pieces and explained their differences, from method of preparation to glazes and their origins. She then offered to give us a tour of her studio as well, which we eagerly accepted. I am always impressed with artists’ work spaces; they are often smaller than expected, and this was true with Jane’s creative environment as well. She produces thousands of pieces of art, in a space about the size of an average classroom (actually on the smaller size). She was brimming with fascinating information about ceramics, so it was no surprise to learn that she is also a teacher and a tour guide; she arranges and leads tours of the French countryside and the local pottery schools every year.

Armed with my GPS, I was confident in finding Shaaron Smith’s studio in Panton Hill, next (no. 17 – zone 3). Alas, we missed her completely... once, twice... to finally find her well hidden driveway the third time around with the help of the map in the booklet we acquired at the winery and some ‘sixth sense’ ingenuity; proving that sometimes technology is not all it’s cracked up to be. Shaaron’s studio is surrounded by a whimsical garden, designed, planted and cared for by herself and her partner (they also have a landscaping business). She stood in front of her cows’ milking shed – converted into a gorgeous work space – and greeted us as if she had known us for years. She is a joy to talk with.

Shaaron walked us through her garden, exhibiting her mosaic tile-work throughout it. She explained her creative process and the birth of her current art form’s incarnation. Being an admirer of all things beautiful, one day, Shaaron was not happy when she found a few of her favourite tea cups chipped in the cupboard, so she recycled them into a beautifully executed delicate mosaic wall for her bathroom. From there she expanded into other surfaces. She now creates and covers fountains, table tops, walls, steps, doors and pretty much anything which does not move. Some pieces we admired were composed of a myriad of tile slivers, mirror shards, teacup handles and even whole objects (e.g.: statuettes), all tastefully married in grout or concrete, and making for a bit of a Find Wally sort of experience. Her studio is open year round to the public by appointment.

Maitreyi Ray’s studio was next (no. 18 – zone 3) on our list. Maitrey works from her home, where she creates her fanciful, brightly coloured paintings and 3D renditions, which narrate stories from India and her childhood. One can certainly appreciate her illustrative talents, but when Maitreyi also unfolds the story which lay behind the visual, the ‘magic’ becomes palpable. Offering us a refreshing drink, she invited us to explore her works throughout her home; almost every square centimetre features a painting or sculpture authored by Maitreyi. This was a fabulous treasure-trove, and the artist is a generous host.

We moved on to Kim Tarpey’s atelier (no. 19 – zone 3), just up the road from Maitreyi’s. Kim is a printmaker and sculptor. She primarily creates her prints on 100% cotton rag paper, using copper plates which she then embellishes with watercolours. Sometimes – according to the project she is working on – she also produces accompanying ceramic sculptures which partner in the storytelling of the featured pieces. Kim’s style of illustration mirrors her personality; happy, quirky, intricate and funny. Much like children can be an extension of one’s character, so I find that, art can mimic the artist’s traits and demeanours as well, this is very much true with Kim’s work. She is a talented visual communicator, but I found the oral descriptions of her work very in depth and enthralling, it is no wonder that she too has been a teacher, and continues to instruct in the Arts.

Our final stop was that of The Baldessin Press & Studio (no. 22 – zone 3) which is home to four artists; Tess Edwards, Lloyd Godman, Silvi Glattaeur and Rob Hails.

I don’t know if it was because we were nearing the end of our quest and were quite exhausted, or the unusually high temperatures playing with our orientation abilities, but we missed 90 Shaftesbury Avenue, almost a dozen times. We nearly gave up, until finally... as if guided by our ‘nose for art’ we found it. We parked in the back of the very large property and followed a gravel trail, passing a few buildings built entirely of stone. I was reminded of the Northern Italian countryside (Friuli Venezia Giulia region – Carso, with buildings made of stone, and known for its wine).

The largest building, houses The Baldessin Press & Studio. We must have walked in just as the artists were grabbing a bite to eat. Embarrassed to have interrupted them, I immediately felt like leaving, but Silvi stopped us in our tracks, and graciously offered to show us around the studio. Tess and Lloyd joined in the tour and then Rob showed up too. I must say that I wish I had spent more time appreciating their works, but my sense of guilt (fuelled and fanned by my eldest daughter) made me antsy and eager to leave them be. The Baldessin Press & Studio group of four were lovely, fascinating to interact with and very funny too (“Are you a climber?” the question was posed by Lloyd when I asked to take their group photo. He suggested I get on top of a work bench and snap away. Tess discouraged the idea, out of fear of injury. Wise woman Tess!).

Tess Edwards is an Australian artist who spent 17 years in France. She established Baldessin Press. Her art represents and deals mostly with metaphysical themes. Lloyd Godman’s work centers on environmental issues and concerns. He pushes the boundaries of photo media. Silvi Glattaeur is an authority in the Photo-gravure process. Rob Hails expresses his passion of the performing arts through monotypes and etchings.

Our tour of the Nillunbik Artists Open Studios came to an end, and once again... though I was exhausted by the trek, I was inspired by our Saturday afternoon tour d’art and once again, I could not wait to get back home, clear out my garage and start my own studio. I really have to. I find that I envy the lifestyle which these artists lead, and I wish to be part of it. As I cannot move to Nillumbik, I can apply a bit of their culture to my neck of the woods.

Visit the Nillumbik Artists Open Studios, it is wonderful, inspiring and educational for all who experience it. Such events are important to expose artists to a wider audience, offer economic benefits to the local economy and help in self-promotion for the artists.

For more information about the Nillumbik Artists Open Studios visit the artsHub Events page.