Where did you first find your passion for art?
My passion for art was hardwired from a young age. As soon as I could pick up a pencil, I could express my imagination and would lose hours compulsively drawing. I had supportive parents, who recognized that I processed things in a hyper-visual way, and they appreciated how art provided a refuge from the difficulties I faced in the education system.
Why do you love art so much?
Art has always given me an outlet to communicate non-verbally and, paradoxically, find a kind of stability in other dimensions of my life that I would otherwise struggle to gain. Whatever is happening in the world, art remains this constant, centripetal force that allows me to mediate things. If you’re open to art, it can draw you into this place of honesty with yourself. I also love how a body of work can justify me deep diving into whatever bizarre areas of interest I’m drawn to; it’s a vehicle to obsessively explore and inquire.
Growing up with dyslexia and non-attentive ADHD, do you think these conditions were beneficial to your career as an artist?
My dyslexia and ADHD cause me to struggle with ‘fluid intelligence’ problem-solving solving and inductive reasoning. I dropped out of high school and got accepted into Curtin’s Bachelor of Fine Arts course in 2009 on the strength of my art portfolio. But I struggled with the conceptual art theory units and dropped out a year later. From here, I retreated into a self-directed focus on painting technique, which had always complemented the way my brain naturally works.
I returned to Curtin in 2014 but faced the same struggles and dropped out again! Then, after completing a two-year cognitive intensive program called Arrowsmith, I returned to Curtin in 2023. I finally found my groove, suddenly relishing the more conceptual and theory-based dimensions of the course, which completely reinvigorated my painting practice.
Despite my struggles, I’ve always had a burning desire to learn, and looking back, I’m grateful for this winding journey, as it has allowed me to carve out an education on my own terms.
What drew you to photorealism and hyperrealism?
Finding myself overwhelmed by the dizzying intellectualism of the conceptual art world, photorealism, and hyperrealism portraiture, these very technical styles allowed me to lose myself in the act of painting. Often metres in dimension, the work I was generating at this time would take me a year or more to complete, requiring this meditative, almost devotional commitment that I really loved.
But since my most recent return to Curtin, I’ve been compelled to draw my photorealism and hyperrealism practice into more conceptual territory, which has been extremely rewarding, breathing new depths into my works. I’m intrigued by the origins of these styles born from and reliant on photography, and the ever-evolving role of painters in the face of new image-making and sharing technologies.
What would be your favourite artwork that you have created?
Tough question!
I have a special association with each of my works, but my favourite is ‘Science Ball 24/9/10 By Andy’, based on a digital photo from the 2000s era on Facebook.
It’s an unguarded scene of people (unknown to me) sitting at a ballroom table with a white tablecloth that is covered in various glassware and a champagne bottle in a cooler. There’s a messy joyfulness to it.
With this painting, I was reaching for something beyond my abilities, so it took a few attempts to find the right approach. The lo-fi digital reference image contained various camera malfunctions, including banding, pixelation, and warping. The pronounced camera flash produced a dramatic and confusing sense of perspective. In trying to harmonize these incongruous photographic elements into the painting, I was forced to slow down to consider each layer and its implications in a way I hadn’t before.
Ironically, painting this 2000s Facebook photo required me to research various methods employed by 15th-century painter Jan van Eyck, and 17th-century painters Johannes Vermeer and Peter Paul Rubins, with intertextual references to their styles massaged into the final work.
What advice do you have for aspiring artists?
I wish someone had told me early on that being an artist requires you to also become an entrepreneur. You are, fundamentally, a small business owner, and those managerial skills are vital to sustaining your practice.
At the same time, as artists, every work is a creative prototype, so there are constant unknowns that you must embrace. Don’t shy away from projects that challenge you and require you to think laterally. Don’t be afraid or embarrassed to ask for support or advice from your fellow artists!
We’re all in the same boat and hold great empathy for each other’s struggles and pursuits!