Jugglers Art Space Inc

In various ways since completing my visual arts undergrad in 2001 I have tried to reconcile the conflict between the desire to develop as an artist and blaze my own creative path and the basic need to make a living.

During the course of my visual art studies I decided that I would not view my art as a form of income. In terms of earning money I felt uncomfortable with the idea of relying on the acceptance of galleries and the public and was concerned my creative intentions might become stilted under the pressure to produce saleable works of art. I think this was particularly daunting in the formative stages of my practice; the idea of my artistic expression in some way being corrupted and no longer genuine for me was the antithesis of what my creative practice was about. And anyway, the job that would support my creative ventures was surely just round the corner…?

After 10 years, completing further study in art therapy, holding different jobs in the health and community sectors and spending a tiny portion of my time on group exhibitions and making art I have returned to the same question, how do I earn money in a way that will adequately provide for me and allow me space to develop as an artist?

In searching for the security of some level of permanent employment I have found there is a lack of accessible and affordable ways for artists to up-skill into paid employment that does not wholly compromise the time available for their practice. Are there ways to combine an arts practice and secure employment? Are there targeted training or education opportunities out there to assist artists find complementary employment in sectors such as the arts, community and business? Can artists find ways to contribute meaningfully to the community and feel financially secure?
Fortunately there seem to be an increasing number of initiatives, opportunities and resources for emerging artists in Queensland. The provision of support to establish and maintain mentoring relationships, initiatives such as Juggler’s to lessen studio space rent, and information and assistance to apply for government grants are all encouraging artists to develop and maintain their practice.

The issue of money can influence and shape an artist’s development. It seems that beyond grants and development programs there is room in the arts sector for some creative construction, to build pathways that lead to secure financial situations for artists especially in the developing years. Thank you Jugglers for valuing artists and for providing me with the incentive I needed to move into a studio space and re-engage meaningfully with my art practice.

— Jugglers 25/10/11

— Jugglers 26/09/11

Jugglers has been interested in writing about its experience of the arts for a few years now. Our pieces to date have been introductions to shows, short promotions and personal blogs by Randal Breen, Sam Eyles, Abby Whittaker, Megan Cope, Peter Breen and exhibiting artists. The current Jugglers “ Interscapes” show [May 20 – June3] curated by Ashleigh Bunter includes her reflective essay “Examining how the recent digital technology revolution has altered and shaped our perception of reality, space and landscape” and is available from Jugglers or Ashleigh. The CD also includes installation images and music by Peel St Band and Inland Sea. This is part of the new move Jugglers is joining where art process and installation is given more time than opening night and more weight than sales. “Two Pages” is easily accessible on the front page of our website [www.jugglers.org.au ] and will feature themed short essays. We have drawn some inspiration for our idea from Art Forum’s 500 Words. www.artforum.com

Our first “Two Pages” theme is “Art for Free” where a few of us reflect on the bold Jugglers venture in 2011 we have called the “ 103 Project Experiment” where costs have been cut, exhibitions have been shortened and in some instances, selected artists have been significantly subsidised for their shows and studios. Ashleigh will reflect on being given the opportunity to curate her first Brisbane show and four artists will write about their experience of being given free studio space for 3 – 6 weeks at our Norman Park QR house. I have asked John, one of the aerosol artists from the public access street art space at 103 to join me in writing about what it’s like to have an accessible, free, self managed “graffiti” space to work in. We hope “Two Pages” is an important part of the arts conversation in Brisbane and beyond. If you have a theme you would like us to consider please drop us an email at info@jugglers.org.au

Peter Breen, Two Pages coordinator.

— Jugglers 14/06/11

by Peter Breen, Two Pages Coordinator and Editor

Melody Woodnut took a free Jugglers studio at Norman Park in March as part of the 103 Project Experiment. She is used to ARI’s and travelling and making do and creating wonderful things out of her endless creative energies and imagination. She has put down her roots in  Iceland as an artist in res too. She has experienced art for free and the limitations of doing art for the people [no charge folks!] and wonders at the corporate world’s paradigm of controlling people’s harmless art that impacts on the AFL Grand Final parade. Not that people care. It is the footy after all! Ai Wei Wei might have some sympathy for her but as yet she has only had herself stuck to the wall not stuck in a cell!

Art for free or art to sell? How do artists live when all they want to do is respond to the world with their right brains engaging their imaginations and artistic disciplines. If you buy art, if you buy Melody’s art, or see it, don’t buy it as an “investment”! Just enjoy it, get annoyed by it. It and Melody are going to be around for a long time.

— Jugglers 14/06/11

by Tamaryn Goodyear

Tamaryn Goodyear took up the offer of a free studio for 6 weeks with Jugglers at the Norman Park Jugglers studios when they were first offered in March 2011 as part of our 103 Project Experiment. Her story board representation of the studio residency follow. Imaginative melding of photography, text, cartoon style line drawing begin to outline her experience of being a practicing artist in a great studio in an old Brisbane house without the constraints of money for rent.

— Jugglers 07/06/11

by Ashleigh Bunter

On a rainy January morning, jaded and sore from a big wet two days at Sunset Sounds, I woke early to meet a guy about the possibility of having a show at Jugglers. I stood out the front of the gallery, the water spilling over the gutters and gushing down the footpath. A man arrived and introduced himself as Peter, the owner of the space.

I explained a little about myself to him and that I had just returned from Woodford, where I voluntarily manage the Indigenous Art Galleries each year. I hadn’t seen his son performing but had survived camping in the deluge.

I had originally contacted the gallery after reading the December e-newsletter which had stated the change in Directors at Jugglers and the opportunity for new groups of artists, musicians and curators to get involved in the programming.
I wasn’t exactly sure what I wanted to do but knew of some extremely dedicated and talented artists whose work I thought complimented each other and deserved to be shown together.

Peter explained his ideas about making art in Brisbane more accessible and giving people a leg up to achieve something. He generously offered me the wonderful gallery space to use as I wish, free of charge and locked in the dates of my exhibition. This was a first for Jugglers and for me. I returned to Red Hill elated while the rest of the house slept through the rain.

I spent the next few months thinking about the artists I wanted to show and talking to them about their work and thinking about my concept. I found the whole thing a bit daunting when I stopped to consider the amount of work ahead of me. I was working two jobs at the time and hardly finding time to do my washing let alone concentrate on putting an exhibition together.

The good thing was that because I had been given the chance to do something and wanted to do it well; there was no way I could back out. The passion and adrenalin kicked in and with a lot of correspondence, planning and writing everything fell into place.

While I have worked on major International exhibitions, exhibitions in regional galleries, commercial and artist run spaces before, this was the first time that I had instigated and coordinated a project entirely on my own. It was gratifying to work at a local level and show local artists and musicians to new audiences.

This opportunity to curate an exhibition of high calibre emerging artists has been an extremely rewarding experience for me personally and I have learnt a lot about how I will approach independent curatorial projects next time.

So often, young Queenslanders get to the stage where they feel they’ve outgrown this space and migrate south to the bigger cities in search of further opportunities and career development. I believe that initiatives like this provide invaluable opportunities and give beginners a chance. Brisbane is a wonderful place to be right now culturally and affords plenty of freedom and potential.

Great things come from generosity. The Juggler’s 103 Project Experiment has been a immense assistance to me and I hope that the project further enriches the community of Brisbane and others fortunate enough to take part. Thank you to Peter Breen and Jugglers Art Space for the opportunity and experience.

— Jugglers 06/06/11

By Paul Harris

I have just completed three weeks at the Jugglers Norman Park Studios and found it a very rewarding experience. I enjoyed working with the talented Mr Anthony l Walker and found the actual studio space quite pleasant and inspirational to create in. This is a unique opportunity and came at just the right time for me.

I primarily work in pastels and oils, usually doing figurative and portraiture painting. One of the oldest forms of art is the creation of lifelike images from coloured pigment and portraiture is a prominent means of doing this, it is a form of art I really enjoy. I find that the energy and scope of a good working studio is very important to the process.

Jugglers have been very generous in having this program available to the Arts community especially to some of the younger artists. The Norman Park location is conveniently close to the inner city. It is an older style Queensland home with large rooms and in a suburban setting. It has very good storage area where you can keep your equipment at hand. It is a great opportunity and people should take the opportunity by the horns and run with it. The experience will be more than rewarding for you and will give the artist a great deal of self worth and propel you to strive for better.

Personally I have found that the sense of space and the room I have, the natural light and the airiness gives me a feeling of creativity and calm as I work. In my home area I had only limited space and was at times not to my full potential. There were also other general home distractions.

My working process involves varied ideas that I just go on, using newspaper clippings and magazines pages filled with modern projections of beauty with much trepidation. But once I work through the angst and nothingness of the beginning process something further takes place or should I say takes over and the process becomes a self propelling pleasure. The painting starts to form and get a life of it’s own. This flows on until the work is completed.

Creative people such as artists thrive on many different things, love, energy or routine. Having a studio space for yourself feeds you and your strong passion, keeps you going in the right direction . Which triggers my artistic senses, helping me produce works that I am satisfied with as an Artist.

I would like to thank Mr Peter Breen and Jugglers for giving me the opportunity to work in a professional studio for the past three weeks. I hope to continue on and also that the relationship is a long and fruitful one. I also hope that many other Artists realize what a great benefit this is to emerging Artists and that they take advantage of the opportunities offered by Jugglers.

— Jugglers 27/05/11

By Kahlia Litzow

“Here are the keys”. I couldn’t believe how easy and pleasant it was to have my own studio space for three weeks. No expectations, no rules. Just free art. With this sense of freedom I entered the space with no clear plans. I had $20 to my name and decided to save that for lunch rather than spend my dying dollars on props or hire equipment for once. I wanted the environment to inspire ideas and shape a project. And that it did.

The outcome of my photographs resemble a Hitchcock Film. Mainly due to the incredible lighting at night. Art for free allowed me to explore absolute creativity by harnessing all the resources around me. For one scene I foraged for candles, a spotlight and a small torch and placed them in the bath tub with the shower curtain pulled across (see photo example). My darling and patient model and I scoured the room for something to leverage the torch. And there it was, a cake of soap. Another scene I used car headlights to cast shadows through the windows. The effect was very interesting. I then used the same effect of the headlights beaming through the grass and bushes casting direct shadows over my model on the porch.

This opportunity coincided with NEIS and really opened my eyes to free creative resources. Even if it’s a cake of soap. Thank you for the keys Jugglers!

Kahlia’s Facebook page
www.kahlia.com.au
email: photography@kahlia.com.au

— Jugglers 23/05/11