Amanda van Gils
Amanda van Gils is an established Melbourne Victoria Contemporary Painter working in oils. She is represented by, Anthea Polson Art in Qld, and with Jenny Port Gallery in Melbourne, you can see more about her, on her website
Amanda has entered numerous art prizes and been the finalist in most, she has a Graduate Diploma of Visual Arts and a number of exhibitions to her credit. there is another interview you can read here.
Artist’s statement…
My work aims to engage with the longstanding tradition of Australian landscape painting yet offer a contemporary take on the genre. Through my work I aim to explore our dynamic psychological relationship to the world around us.
In the past I have explored the idea of people’s place in the environment through various permutations, primarily: the absence of people, people disconnected from the landscape, and moments observing others (most often children) at imaginative play creating their own space. In doing this, I have experimented with juxtaposing elements in unexpected settings to invert traditional notions of perspective and perception.
The landscapes in my works are not grand landscapes, they are small and familiar; these places are part of our everyday lives and they inform our understanding of the world. My paintings share their quietness, yet I draw on the unpredictable and the anomalous to explore how we respond to them.
My current body of work View from a Speeding Train, moves the figure off stage; the viewers are given the view of the landscape yet are drawn to the narrative of the viewer within the painting (the unseen person looking out the window). This interplay between movement and stillness, outside and inside, encourages the observer to make choices in their reading of the paintings that ultimately link to their own specific relationship to place.
What are you currently working on?
Finishing off a few paintings for my next solo exhibition, which is opening very soon on 3rd December at Jenny Port Gallery. They are essentially landscapes viewed through time with multiple layers of meaning.
Do you have one word or statement to describe your current works?
Movement.
Now give us a more descriptive outline on your current works.
I guess it is a meditation on painting, and using high speed travel as a metaphor to create images of the rapid glimpses captured as we hurtle through the world. A strange and subtle melancholia - as in a sense that none of us can be sure of where ‘times’ are leading - metaphorically, spiritually, politically, economically - just this fast train we are all on in the early 21st century.
How did you get into art?
Quite by accident. When I was 15 I went with a friend to an art school open day just for something to do, we went our separate ways and I wandered into the painting studio. The smells were somehow just magical to me and that was it, I started drawing the next day and applied to the local TAFE to study art.
Your art education was…?
Fascinating, informative, sometimes lacking, sometimes melodramatic but always worth every minute.
What did you do before becoming an artist?
There was no before as I started straight from school. But there has been - in between and alongside - quite a few jobs; I spent a number of years working part time in Human Resources in management and consulting roles while also painting and exhibiting.
Is there any one thing that has given you a big buzz in your art career so far?
Just recently getting selected for four pretty good prizes in a row with my new work.
What is your earliest memory of art?
A Russel Drysdale print that hung in my parents bedroom
How important do you think craftsmanship is to artistic creation?
It’s important when it is important to get the idea across. Craftsmanship purely for the sake of craftsmanship can lead to some hollow work so I see it as only part of the equation.
Have you had any “big breaks” in your career?
So far it’s been more baby steps than any “big breaks”. I have had to work hard for every small break that has come my way, a big break would be nice…..
Do you get to other artists exhibitions, openings etc?
Yes definitely. I try to get along to friends openings to show support but most openings conflict with baby bedtime routines so I don’t get to as many as I would like. Generally I go to exhibitions outside of openings so I can see the work.
Musical influences?
Music has always been important to me – music and literature nourish the parts that visual can’t always. I always have music on and have a fairly wide collection of music depending on my mood, but I must admit I have been painting to The Go Betweens ever since I started painting. I would love to be able to make work that produces feelings in the viewers that I get from listening to the Go Betweens, I think that’s pretty ambitious but if I get to the end and look back and can find that I had done that somewhere along the line I would be extremely happy.
What sort of research and or reference material do you do for current works and has that changed over time?
For years I have been heading off on solitary drives and taking photos that I can use later as reference material, the current works . I have a suitcase full of . My process is more immediate now than it used to be. I take photos to use as reference but don’t paint the photos as such. I have a bit of fun trying to work out my camera to get the sort of photos I want and I disregard quite a lot that is in the photo. I am less reliant these days on notebooks for pre planning preferring to get the idea down quickly on canvas.
Do you hope the viewer will “get” what you are trying to communicate or do you feel compelled to spell it out to them?
I hope that I am successful enough in conveying my intention that I don’t need to spell anything out. Having said that I am always interested in the viewers perceptions – sometimes they might pick up something that passed me by and a chance comment can spark off a whole new body of work.
How important is it to you that your work communicates something to the viewer?
I think the work needs to touch the viewer in some way: intellectually, emotionally, sensory for it to be of value to that viewer. And hopefully what is communicated is at least partly what the work is about for me, but I’m not too dogmatic about that.
What sort of depth or meaning is there behind the work you do?
It’s difficult to articulate the depth of meaning in words. Suffice to say that there is a lot in the work, not symbols as such, but when I hear someone have a ‘me too’ moment of recognition in response to the work that is really satisfying.
Has being involved in the arts proven to be a millstone or a point of elation?
Point of elation definitely. As with anything there are the bright spots and the dull times that seem to go forever but overall I just think it is exciting and interesting, stimulating and frankly a whole lot of fun.
If you stopped doing art right now would you miss it?
Absolutely, I ‘gave up’ art for a few years and it was without doubt the worst time of my life. I aim to never repeat that particular error.
Do you have a challenge knowing when a work is finished?
No. In fact I think I am pretty good at knowing whether 15 more minutes or an hour is needed. Getting a painting finished is about getting it to a certain ‘feeling of rightness’ and it’s not finished until it’s there. And once you are there you aren’t tempted to lay down any more paint.
You know you have “made it as an artist” when…
You write ‘artist’ as your occupation on government forms without giving it a second thought
The business or marketing side of Art can be a challenge to some, what are your thoughts?
I think unless you are very lucky to hook up with great dealers early on there is so much work to do to effectively market yourself – and not just to buyers but curators, gallerists, media and so on - that it can eat into studio time if you aren’t well organised. Marketing and business also requires a very different set of skills to creating art so it can be challenging.
How do you feel about earlier works that are in people’s collections / ownership?
Luckily I didn’t show much early on. I’m quite comfortable with all the work that’s been sold – obviously the buyer responded to it and I have to respect the buyers response, even if it’s not how I would paint it today.
Name a book or books, which may have inspired your work as an artist?
Interestingly not one I would have thought of, it’s actually a self help type book called “Coach Yourself: It’s your life What are you going to do with it?” I was using it for paid work that I was doing and then read through thinking about my own situation and really got the synapses firing. It was probably the right book at the right time and acted as a catalyst for me leaving part time employment and backing myself to become a full time artist.
From your early beginnings at art school to now, how have things altered for you?
Really just more clarity and more confidence.
Tell us about your studio environment…
These days I paint in a garage out the back of my house as it’s most suited to my life. It is the messiest most unsuitable studio I’ve ever had…and I find I am producing my best work so really I can’t complain.
Do you have a connectedness to other art forms?
I love photography, especially cinematic photography in particular artists like Tracey Moffat, Deborah Pauwe, Rosemary Laing, Bill Henson
Some artists are more “at home” isolated in their creative process, while others revel in being part of a group to bounce “ideas off” how about you?
I have a really great network of artists who I consider myself fortunate to be able to call friends. I have a couple in particular who I bounce things off when I need a second opinion. And of course being married to an artist helps too, especially in stressful times like the lead up to a big show.
Do you go into any contemporary art prizes, if so why?
Sometimes I do, it can be a good way to extend your audience and build a bit of a profile. I know some people argue that art isn’t a sport and shouldn’t be competitive and I appreciate that argument but I don’t go into these things hoping to be anointed ‘the best’ but rather hoping for the opportunity to be ‘in the room’ showing with peers.
Do you work from life, or from photographs or from imagination or some other method?
A combination of all of the above. I often take reference photos but I am far from slavish in reproducing them. They are often a springboard or a memory trigger and little else. A lot of what evolves is from the imagination or memory, things that I have noticed
When you create your work is it somehow an emotional relief as you do it or at the end?
It tends to be an emotional relief if I haven’t been able to paint for a while. I get the itchy craving to do some painting (and can be a bit stroppy) if I can’t work for a while, and while it is far from therapy there is a real relief when I can get working again. Aside from that though there is no particular ‘emotional relief’ either at the beginning, during or after a work is completed.
Do you aim to make “masterpieces” ?
My intent is smaller than that. You can’t make work with that in mind, in the same way that making work purely for commercial reasons i.e. ‘If I paint X it will sell’ having that as the end point corrupts the process and the outcome. If I manage to get peer recognition and make a living doing the sort of work that I want to do with my integrity in tact then the rest should look after itself.
What is your working routine?
I am pretty organised; I have calendars with dates to work towards and lists of what I need to get done when. I mainly paint during the day, a couple of days I have my son in childcare so I get to paint all day, the rest of the time I snatch time when he is asleep. I always listen to music ad normally have quite a few paintings on the go at once.
Are you the sort of artist that seeks out promotional opportunities or one that shuns the limelight?
I need to make a living with my work to allow me to continue to make the work so I certainly don’t shun the limelight, but I’m, not a natural attention seeker either, I hope I strike a good balance.
What advice would you give to an artist just starting out?
If you want to be a professional artist you need to work a lot at your art, learn to be self-critical and be open to critique but filter it (critique from a family member is different than critique from an artist or gallery director). There is a lot more to being an artist than just making the work, I think it is important to learn as much as you can about the art industry and have an understanding of art history. But above all keep making art and keep learning.
Have you ever made an artistic pilgrimage?
In 2006 I finally got to Europe for the first time. My husband and I organised our trip specifically so we could see as much art as possible, even when it meant going to Madrid for just one day for The Prado. Seeing the collection in The Louvre was an incredible experience all on it’s own but we were lucky enough to see museums and galleries in Italy, Spain, France, Berlin, Amsterdam and London.
Do you have a question for the artist? check out the comments link below and ask away!
Compiled and edited by Steve Gray Contemporary Australian Artist
Comments
8 Responses to “Amanda van Gils”
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Very interesting interview.
Good luck, Amanda with the show.
A compelling series of interviews that shows the human side of artists. It’s nice to know we are not alone in our struggles. Wonderfully put together.
[...] Amanda van Gils [...]
Thank you Amanda for sharing you thoughts. I really enjoyed reading your interview and sharing your journey. Best of luck with our show. Looking forward to seeing the work. I love what I have seen so far, beautiful paintings.
Great interview Amanda. Very interesting to hear your thoughtsI & like your new paintings very much. Hope your show is a great success.
Regards, Kim
[...] an interview with Amanda Van Gils. Possibly related posts: (automatically generated)Paintings of FoldsThe 1st Grade Sun Flower [...]
A belated thank you Erika, Kim, Stefan and Mike for your comments.
And a thank you to Steve for creating this opportunity for artists to discuss their work.
It’s my extreme pleasure to provide this opportunity!