JODY GRAHAM - INTERVIEW

What attracted you to the world of Art?

Art and Artist attract me to the art-world!

I am drawn to the art-world because I want to see art. Looking and being with art does something special for me that I can’t get any other way. My mind is challenged, often transformed, and altered when I make or look at how other people express their ideas. Art is a language I like; I enjoy working out visually stimulating material, layered with ideas and concepts.

When did your artistic passion begin?

I am told I would sit and draw for hours when I was a child, absorbed in my imaginary world. Decades later, I am still that child completely at home in isolation, ruminating over ideas and creating, it’s my ultimate idea of a good time!

Have you always wanted to be an artist?

I grew up when it was preferred for children to be seen and not heard. As a result, I think drawing and art became my medium to be seen, my language to express myself. This was extremely important during my later high school years, helping me navigate a difficult home life. I had a brilliant high school art teacher, who would take students into the city to see art. On one of these excursions we went to Roslyn Oxley9 Gallery, and I saw Juan Davila’s multi-panel work Stupid as a Painter. Seeing this work, altered my life forever, I was excited by what I saw, Davila’s art opened possibilities in my young mind of what art could be, and making art could be something you did seriously for life.

Describe your work?

I am a multidisciplinary artist, preferring to work across several types of creative disciplines, including drawing, painting, sculpture, installation, and performance. Being multidisciplinary has grown out of my desire to find materials and methods to express my ideas. I first noticed this happen in 2012 after a trip to South Africa. On this trip I became aware of my attraction to the makeshift and repulsed by consumerism, especially my own. I liked the creativity I saw on this trip that was born out of a desire to be resourceful and invent with what you have and find. The yearning to make is so great, there is no excuse about what materials you don’t have. Subsequently this trip motivated me to be innovative with found materials. I appreciate the challenge and mystery working in this way commands. When you can’t buy what you think you need, working with items you find dictates much of the creative direction.

Some of my artworks are inspired by sound. It’s obvious to me I am stimulated by what I see and continually amused to notice how much I am encouraged by what I hear. This is especially evident working with Mark Cauvin, who is an Avant-Garde Musician and Composer. When I work with Mark our aim is to find a collaborative ground which blurs the lines between sound and mark making, wanting to conceive a new artistic discipline, we call Sound Drawing. Sound has been the impetus behind many of my bird drawings. Bird calls I hear in the environment prompt my immediate attention. As a result, I am frequently rewarded with exquisite sightings of Australian native birds. These visions induce excitement and my need to capture what I see in drawings.

What is the philosophy behind your work?

The philosophy behind my work is to make visually interesting artworks that embody story. The story can be present in the imagery, with the materials I use or how the artwork is made, presented, or installed. Several reoccurring themes exist in my arts practice, these include the use of found materials and my constant search to find ways to reduce the power of my ego. I like using discarded resources and think this is linked to my brokenness in addiction and restoration into recovery, resulting in a desire to give new life and purpose to trash.

Using weird tools to draw with helps me sidestep my selfcritique and allows for exciting, expected marks to happen.

I get a real buzz out of this technique; it provides an enhanced experience with the symbolic act of mark making. Another recurring motif is my use of continuous handwriting to explore mark making and what’s under my conscious and subconscious thinking. Fragments and large portions of this technique which I call automatism can frequently be seen in many of my drawings.

A significant development over the last decade in my practice is my regard for making site-responsive artworks. I find it very rewarding creating new work that conveys my experience and perceptions connecting with new communities and locations. I enjoy the challenge of seeing and thinking about experiences for the first time. Similarly, this transcends into my drawing, as I am constantly seeking new innovative ways to explore the act of drawing that go beyond conventional approaches.

Do you have a set method / routine of working?

My whole life is focused on making art and creativity. I don’t have a separation between work and life. I see my life as an artist as a vocation. I create continually, at any time. I am fortunate to have family and loved ones that understand and support this and do not try to fit me into a conventional mode of working. Since 2018 I have maintained a weekly routine of writing a brief note about an inventory of my shortcomings and occasionally acknowledging positive actions. I put the note in a small box and add a little item I have found to each box which reflects the message inside. This weekly routine is called Treasures of Truth. It is an essential part of my life that I am deeply committed to. The practice of writing coupled with randomly selecting boxes weekly to open, read and act on the contents, fills me with gratitude and insight. Throughout this practice, I have discovered my own truths, fears, dreams, and actions, are common to many people. This awareness gives me greater compassion and empathy for all humanity and the struggles we face.

How important is drawing as an element to your artwork?

Drawing is central to my work and life; it is how I learn and understand myself and my surroundings. When I draw something, I feel like I can figure it out. Strangely I think this also applies to people. When I draw random strangers in café or on public transport, I feel like I can get a good sense of a person by drawing them. Facial expressions and postures are so revealing. I think some artists can see more than what is optically apparent, to delve deeper, like a visual detective.

Drawing is my quintessential language; it’s how I express myself and how I read the world. It’s my daily companion, always with me.

My latest achievement?

In June 2023, I became an Artist Trustee of The Kedumba Collection of Australian Drawings.

This is extra special because of the story I have related to the Kedumba Drawing Prize. Twenty-three years ago, I wanted to try and be part of the prize, I had an appointment to go and meet the Director Jeffery Plummer, I started to drive there but got so nervous on the way, I turned around and went home to hide and have a strong drink. I didn’t make it back to try again for another three years. When I did, my interview was intense, I stacked up my best work to be viewed and sat quietly waiting while Jeffery walked around making all sorts of loaded comments. Many of which still drive me today. He asked, do you have more? I did, a car boot full!

A week later I received an invitation to enter the 2003 Kedumba Drawing Prize.

Once again, I was so nervous, I drew every day for 6 months and finally at the end of that period I had a drawing I thought would be acceptable to enter.

To my enormous surprise I was selected for the Kedumba collection by Artist Trustee John Olsen. This changed my life and gave me the confidence to believe one day I could be an artist.

Twenty years later, it is my absolute pleasure to be an Artist Trustee of the Kedumba Collection of Contemporary Australian Drawings. How has the COVID 19 Virus affected your art practise?

I leant new digital and video skills during covid. I became familiar with how to do online teaching and enjoyed discovering new ways to link with people. One of the biggest insights I gained during Covid was how important and rewarding social media and digital platforms can be. I enjoy the ease and reach of social media and the ability it has to unite with new people.

What are you working on at present?

Drawing on paper will always be permanently etched into my life. However, for a few years I have been trying to paint more, along with embracing new supports. Finally, I am ready to fully commit to this task and shift to using canvas and boards more in my arts practice.

Another ongoing interest is my strong urge to learn more about digital media. I want to become proficient at this. Acquiring more skills in this area will support my ambition to showcase my drawing on a larger and moving scale. An improved digital skillset will also help make immersive experiences when collaborating with Mark Cauvin in Sound Drawing performances and exhibitions.

Your future aspirations with your art?

As I write this there are a few important things I want to accomplish before I die.

Have Treasures of Truth artwork acquired by a prominent public Art Collection

Have acquisition success with my drawings in numerous public collections.

Take Sound Drawing to a celebrated artistic level.

Publish a book about my arts practice.

Acquire a residence to leave an artistic legacy.

Inspire creativity in my art and teaching.

The constant driving force I am devoted to, is striving to make better art.

The more I learn the more I need to know. - Jody Graham 2023.