May 20, 2025 ⢠45 mins
In this powerful episode, I revisit my conversation with artist and educator Minami Ivory about the ways art can be used to process trauma, reclaim identity, and build connection. Minami shares her remarkable journey of resilience and creative recovery, from navigating rejection in art competitions to becoming a finalist in the Womenâs Art Prize Tasmania.
We explore the emotional depth of her practice, the influence of artists like Keith Haring and Tracey Emin, and the therapeutic potential of collage, photography, and painting. Minami speaks candidly about the emotional toll of working through personal experiences, the courage it takes to share them, and the meaningful feedback she receives from those who see themselves in her work.
Themes: art and trauma, resilience through creativity, women artists, healing through art, collage practice, storytelling and vulnerability, regional arts
đď¸ Connect Curate Create is a podcast about creative courage, community, and place-based storytelling in regional Australia.
LINKS
Connect with Minami â @minamiivoryâ
Other links:
â Womenâs Art Prize Tasmaniaâ
â Blaze by Del Kathryn Bartonâ
â Intelligence Squared Podcast featuring Tracey Eminâ
Links to support services:
â https://www.respect.gov.au/services/â
â https://www.healthdirect.gov.au/partners/pink-elephants-support-network
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Welcome back to the podcast. This week we're sharing one of
my favourite episodes so far, part of our new series of recap
episodes. While we're busy producing new
content for the podcast, YouTube.
And our brand new. Patreon channel.
That's right. Connect, curate, create.
(00:21):
Is now on Patreon. It's a dedicated space to learn,
share, and grow together, and here's why we built it.
Do you? Feel like your art has?
Been seen by the right people. Are you getting the kind of
feedback that actually helps yougrow?
Do you have a space where you can learn with other artists?
Really get what you're doing. If you answered no to any of
(00:45):
these questions, Connect Curate Create is here for you.
Our Patreon community gets exclusive and early access to
content, behind the scenes videos, key takeaways from
episodes and events, access to live discussions with our
guests, and so much more. So if you're ready to grow your
(01:06):
creative practice with the support of a collaborative
learning community, click the Patreon link in the show notes
and join us today. Now let's get into another
brilliant episode packed with ideas and inspiration for your
own creative journey. Art is the best form for me to
express pain and also reach out to people who have suffered
(01:30):
similar situation. I'm not an activist, I'm not a
leader, I'm not a great leader, but I can do this.
This is my part. I'm going to share this with the
world. It's not just about sharing what
happened to me but also it's about resilience.
It's about, you know, living your life after whatever happens
(01:52):
to you, you choose. You have to have your weapon of
choice to survive your life and,you know, make it your life
again. In this episode, I talked with
Minami Ivory, an artist and educator based in Launceston.
TAS Minami shares moving and important insights into how and
(02:14):
why she practices art. She offers exceptional insights
into how she makes time and space to explore a practice, art
as a means of communicating pain, and how her artwork is not
only being recognized by arts prize panels, but also
(02:34):
empowering other women to speak out about their own experiences
of pain. Minami bravely and openly
discusses her experiences of trauma and pain.
And so if some of the content inthis episode effects you, please
refer to the show notes where wehave provided links to
Australian Government recommended support services.
(02:54):
Or call Lifeline on 13/11/14. That's 131114.
If you're listening elsewhere inthe world, we recommend you
search your government website for links to relevant support
services. Be sure to also check out the
(03:16):
show notes for highlights and links that you can use to shape
your own journey. If you learned something from
this episode, follow us on your favorite podcast app and tell
your friends about Connect, Curate, Create.
Welcome to Season 2 of the podcast.
(03:36):
We are back in Enterprise Tasmania in Launceston and this
week I am speaking with Minami Ivory.
Minami is an artist and an educator and I first met Minami
at Photo Book Launceston, which is a collective that I Co
(04:00):
founded when I first moved here as a way to meet other
photographers. And I'm so thrilled to have met
Minami. So Minami, without further ado,
welcome. Thank you.
Yeah, Minami, look, it is great to speak with you here on the
podcast. We've met a few times.
I love your work and and I love sharing photo books with you.
(04:25):
We always have great dialogues around that.
But I have to say I don't reallyknow an awful lot more than
that. So yeah, this is a really a
journey of discovery today. And what the one thing I do know
about Human Army is your work is, is receiving a lot of
attention right now and you've you've entered a lot of work
(04:47):
into prizes and awards recently.And I'd just love to know your
motivations behind that. Well, it's become a bit of a
hobby, which sounds awful because I hate it when someone
says, oh, so you work as a teacher full time.
It's like, yes, yes. So what's your photography is
your hobbies like? No, photography is who I am.
(05:08):
I'm an artist. But entering competition has
become obsession. So it's a little bit like,
sounds a bit strange, but it's alittle bit like online shopping.
So you have a couple of wine at night time after children go to
bed and I look online for up prizes.
And then I get comfortable and confident because I had a couple
(05:30):
of glasses of wine, which doesn't sound great.
And then I'll start looking at my work and then I'll actually
decide what kind of prizes and Ilook for I should enter in the
future and I'll write it down. And then it becomes my hobby.
So I no longer do online shopping.
I enterprises at night time. Fantastic.
(05:51):
Are you saving money while you're doing it?
Kind of it costs money to enter,I must say.
It's not cheap, but it's cheaperthan shopping online.
Yes, that's correct. But sometimes I regret because I
do it in a rush and then I look back and think, Oh my goodness,
what was I writing when I entered that competition?
(06:12):
But no, it, it, it's and I'll get so many rejection emails.
It's not funny. Sometimes I feel like taking
screenshots of rejection emails and putting it as a real onto
Instagram. And then once and every now and
then I get this really nice e-mail about congratulations,
you got in. And it's nice.
(06:35):
It's it's really hard to get rejected 'cause you actually put
so much effort into your work. But also I know that I shouldn't
take it too personally. Yeah, that's, that's that's a
great lesson. Yeah.
Look, I've, it's the same in academia as a as a researcher,
I've spent 20 years as a researcher and the rejection
(06:58):
letters from academic journals, yeah, they hurt every time.
And but I do think that that is a symptom of the world we live
in today. And I I think that few
professions know better than artists.
This. This.
Yeah. So you're I I love the fact that
(07:19):
you treat it as a hobby. The competition bit, yes.
But it it so you're. Yeah, so, so you're, I hadn't
realized just how, how many applications you're, you're
sending out there, but what I see from your Instagram
following you on Instagram, you know, is, is that a, a certain
amount of success. And you know, so, so yeah, every
(07:43):
once in a while. And it seems to be more and more
often that that that you're posting that.
And I think you do it very well in in that, you know, there's no
bragging in this at all, but it's like, wow, thanks for
recognizing my work. And so the most recent thing I
saw on your Instagram was just last week.
(08:03):
I mean, we're recording a few weeks before this goes live, but
the Tasmanian Women's Art Prize.Oh yes, that was really exciting
to be part of it, firstly because it's actually a prize
for all art medium. So it wasn't just photography
and it's actually good that photography is recognised.
(08:26):
So that's the main part. And when I went to see the
prize, there were few photography pieces and they were
beautiful as much as other artworks of course.
And I must say I've been rejected by women's Up prize
couple of times. I must say this.
So it wasn't the first time I was in when it was what was it
(08:47):
called? Material Girl.
OK, I was in it once and then I didn't do, I didn't actually do
any painting because I actually majored in painting when I went
to art school and after I finished had one exhibition and
then I didn't do any painting. I maybe did cut like a here and
(09:09):
there, but my life took me over,had a job, children, the
mortgage to pay for. So I didn't actually do any art
and then all I did was actually take photos of my children.
So I only recently entering competition and it was really
good. It was, it was good to be
(09:29):
recognised in Tasmania because Tasmania is, I think it's got
this different art world, quite different from mainland and
traditional approach to art is more recognised and appreciated
and, and I, I respect it so much.
(09:49):
But I think contemporary art should be as important as
traditional art and I think it'sreally good that a Women's Art
Prize recognises that. Yeah, absolutely.
I I couldn't agree more. As as a photographer, whenever I
introduce myself as such, peoplesay, oh, landscape, yes.
(10:12):
Well, no actually, but look, there's a few things there.
We didn't really get into your photographic practice, but
perhaps before we get into photographic practice, because
you've just opened up something there that you photography
wasn't necessarily the focus of your practice at art school.
(10:33):
So, so perhaps you could take usback, in fact, before we get to
art school, how about, you know,where what role plays in your
life and, and you know, where, where did that come from
originally? And yeah.
Art came by surprise. So I was born and raised in
Japan and all I loved was English.
(10:54):
I just loved learning about different culture.
I'd listen to Britney Spees and Spice Girls and I, I would watch
all the movies from the Hollywood and England probably
and get really excited about andbeing able to understand English
words. So English was my passion and
(11:15):
art was always kind of in the background because you learn it
at school. My mum always appreciated it
out. So she'd go to exhibitions and
one day when I was in Grade 7, she brought home a little book
about Keith Haring. Oh, wow, yes.
And I, I looked through his workand, you know, it's colourful,
bold and I loved it instantly. But mum told me about his story,
(11:39):
you know, getting HIV and actually dying quite early.
And also he was an, an activist.So he was voice for gay people
and also, you know, people who got sick from HIV.
And I saw that anger in his paintings and so emotional.
And I didn't know until that daythat paintings should be artwork
(12:02):
could be so emotional. And I nearly brought tears to my
eye. And that was when I was in Grade
7. And when I was in grade 9, we
had a painting task and it was about kind of self-portrait.
It was about ourselves. And I painted something because
year 9 is a difficult year for anyone getting, you know,
(12:24):
getting to know who you are and wondering who you are, what we
what, why are we even here for kind of questions.
And I painted this really energetic painting that skill
wise, not great because but you know, the passion was there.
Like it's so much emotions. And he told a story and my art
(12:46):
teacher then actually wrote whenI graduated from that school,
write down in my ebook, Minami, you're so passionate.
You are going to be an artist. Oh.
Wonderful, yes. And but I was like, what are you
talking about? I love English and then I ended
up moving to Australia or Tasmania actually straight away
and what happened there was I couldn't speak English clearly
(13:09):
and I felt so trapped. It was a struggle.
St. It was so much pain and I felt
like I was so useless because I wasn't in the on the same stage
as Australian students because Icouldn't speak their language
fluently. But Art Room was different
because art didn't judge your language skills.
(13:31):
It was about art. It was a visual language and
there was a welcoming feel to itin The Art Room.
I loved it so much and I could actually compete against
Australian students with my art and I loved it so much that I
was in Art Room all the time, painting.
(13:52):
That's when I decided that art was my thing.
And then I went to our school inLaunceston and I got my teaching
degree because I love stability,didn't want to be struggling
artist. So I taught art at the same
school for 15 years now. And then I took photos of my
(14:15):
children with a good camera. When I saw my first daughter,
Aki was born in 2012. And I bought a good camera
because that's what my dad did. Yeah, in the 90s in Japan, my
80s and 90s, he had this beautiful film camera that he
took a beautiful photos with. Like really nice.
(14:36):
He, he had some good idea about photography, I think always took
up photos of us. It was quite embarrassing.
But it looking back, it's so beautiful.
And so I thought that was the normal thing.
So I had a good camera, took photos of my kids and put them
on Instagram because that's whatyou do as a mum.
Look at my children, how beautiful are they?
(14:56):
And then and I met Sarah Rhodes right through my daughter's
school. And then Sarah said, Minami, you
take good photos, you should enter them in competition.
I was like, you're talking aboutthey're just photos.
And and then she invited me to photo book Launceston.
(15:16):
Oh, and I'm like, OK, well, I dolike taking photos.
And then I joined in. And then Louis Lim photo book
workshop was on and I joined. And then Louis, for those people
that don't know, Louis Lim is based in Brisbane and he, he's a
(15:37):
photographer himself and also he's a printer, but also he runs
workshop of photo book making and he worked with us and he, he
was so good. He actually put together my just
everyday family photo photos into a beautiful book.
And I just couldn't believe how beautiful it turned out.
(15:58):
And, and I'm like, oh, this is this feels good.
I, I love this and also along with the photo Sarah Rhodes
who's also a a great photographer I always look up
to. She took photos of me a few
times for her PhD work and she would takes photos with large
(16:20):
format film camera. And when I saw her in action, I
just couldn't believe how beautiful the process was.
I just did not know. It was just like unknown world
and I was just, it was breathtaking just to see her
taking photos of me. And so that was around
(16:40):
2021-2022. And then that year I thought,
you know what, I'm going to havea go at being an artist.
I'm going to actually take photos with purpose and concept
and I'll see where it takes me. And here I am.
Wow. Incredible.
(17:01):
Yeah. You've just taken us on quite a
journey there. And I hadn't realized that.
Again, as I say, I love your work, but I hadn't realized that
that photography had really onlybecome something that that you
considered part of your practicevery, very recently.
OK. So.
(17:21):
OK. Wow.
This sort of left me speechless.I'm not ready for the next
question now. Look, Minami and so, yeah, so
Sarah is obviously a key influence as you've suggested,
and I should probably invite Sarah onto the podcast.
But yeah, Sarah Co founder of Photo Book Collective.
(17:45):
And yeah, look, I hadn't appreciated the value of that
either, I suppose. But a couple of things that come
out shining through for me. One is very much about you and
your own self-expression. So photography is a medium for
that, but also the power of connection as well.
(18:08):
There that that you've made these connections through your
life. And and Keith Haring is a as a
major influence of Harings work as a as a as a major influence
early on. But how do you see?
How do you see that influencing the work you do today?
(18:28):
Well, love for art of course, but also looking back, it's
actually about pain because I always pain.
Art is the best form for me to express pain and also reach out
to people who have suffered similar situation.
So I do believe I'm still going along with his passion and being
(18:52):
minority perhaps. But colours, I love using
colours in my photography, although I'm drifting away to
black and white 'cause it's really cool as well.
But I love his use of colours and simplicity and the bodies
and so emotional. And you need that.
You need to have that in your artwork to, you know, if you're
(19:14):
not passionate and if you don't have your emotions in it, who,
who's going to see that? Who's going to fill your
artwork? Yeah, yeah, yeah.
And and that must be why you're seeing you're finding success
with putting you out into the world in, in terms of, you know,
personally, I cannot relate to directly to, to the work that
(19:38):
you make, but it is aesthetically it draw it.
I am drawn to this work and I feel your pain.
I just can't relate to it. But that's enough for me to.
Yeah, I just as each project unfolds and I see more and more
(20:00):
of your work, That's yeah, I I, but I don't, you know, I'm not
going to inquire into that. But I suppose that the that must
be, must be. It really is.
Is how? Yeah, how, how you're reaching
out through your work without with very few words.
(20:23):
I, I, I assume, but yeah, do. Is there a particular group of
people that you're trying to reach with your work?
This has been on in my head quite a while.
So who who do I want to approach?
Yeah, reach out to so. So why am I doing my work?
Because I this is how I cope with my pain through art here.
(20:48):
But then why am I doing this publicly?
I think that's the thing. Because if you're going through
trauma, dealing with trauma or pains from the past, why don't
you maybe go and see a counsellor or I'll talk to a
friend behind closed doors. So what am I doing this
publicly? So I've been thinking about
(21:09):
this. Probably the first thing would
be I watched a movie called Blaze by Dale Catherine Barton.
I don't know if you've watched it before.
So powerful and so strong. I watched it on the plane.
I cried. And when I watched that movie,
(21:33):
everything that was on my mind, it just got like, everything
resonated with me when I watchedthat movie.
And I, that's why this titties came out and it felt so good at
the same time. And I wanted to do that as well
as an artist because I, I wantedto be part of that.
(21:56):
Like they'll, they'll Catherine Barton.
I wanted to actually communicatethis idea to the world.
And to start with, I was actually really sheepish.
So I was thinking, oh wow, this is a bit too much.
Why do I want to share, share the world that I've been
(22:17):
assaulted? Why do I need to go around and
tell everyone, What would my husband think?
How would my children think whenthey get to know about my work
when they're older? What do I do?
So I was really sheepish. I wasn't sure about the artist
statement. I didn't even show it to my
husband. He kind of knew what I was up
to, but I didn't really talk to him about it because I take
(22:38):
photos at night time in a kitchen that's my studio or
downstairs. So he could see it.
And then I was really awkward. I didn't want to talk about it.
I was just taking photos and he knew he's got a bit of an idea
of what happened to me. So he he respected it because
he's a really supportive partner.
So he didn't really ask. So I actually approached a
female friends and, and I got them to read my statements
(23:01):
instead and talked about it. But one day I listened to a
podcast with, gosh, I love her name.
I love her so much. Tracy Emmon.
Yes. And Tracy Emmon said she's not
going to stop talking about abortion abuse against women.
(23:22):
She's not going to because the world needs to know.
And she shouldn't be ashamed because the shame should be put
on, put back onto the predators.And that's when I thought, yes,
that's dead, right? So I actually went extreme, like
I just shared everything. I just thought, yes, this is
(23:45):
right. I actually need to get out
there. I'm not an activist, I'm not a
leader, I'm not a great leader, but I can do this.
This is my part. I'm going to share this with the
world and, and see if someone understands me and if they can
feel that emotion that I felt when I watched Blaze.
That's that's awesome. Yeah.
(24:08):
Yeah, yeah, yeah, absolutely. Yeah.
And and you said, you know, being at art school, finding
that art was the way you could communicate.
And when you've got such a strong message, such an
important message to be able to convey through through your
artwork, yeah. When perhaps you know, there
(24:31):
when there are things that therearen't words for or it's
uncomfortable to express in language.
Yeah. To the, so the text in your
photographs really just, it really hits home is, is what I,
what I would say, you know, the,IT makes me feel something that
(24:52):
I don't fully understand, but I know I need to understand, you
know, I need, I know from your work that I need to pay
attention. And so are people paying
attention. Do you?
What sort of feedback do you geton your work?
(25:12):
I do not know. Well, I've, I've, no, I've had
reviews, I've, I've spoken to some people and some people said
wonderful things. I guess some people are
supportive. One thing that I've noticed
because my last series how do I bury if I don't have your body
(25:35):
counted, graded, numbered so long was about me going through
IVF process and infertility and struggle with that.
So that was a bit of a dummy to see how much I can share my pain
through photography where So I recently exhibited that sawtooth
and after after the speech, a woman approached me and she
(25:57):
actually shared her story. And I thought that was beautiful
that for her to actually be ableto come and speak to me about
her experience because no one actually would go, you know,
while having a cup of tea or coffee with your friend.
Hey, by the way, I had a miscarriage.
(26:19):
By the way, I've been assaulted before.
Lucky you don't say that lightly.
So it's actually important to create that space and
opportunity because when you share that, if you wanted to,
it's, it's, it's almost like a sign of relief.
And also knowing that some otherpeople have gone through that,
it's, it makes you feel strong, I think.
(26:39):
And also, you know, that there are always people that will
understand you and support you and a conversation starter.
I think it's, it's, it's great. And I think my current work
called Weapon of choice. It's not just about sharing what
happened to me, but also it's about resilience.
(27:01):
It's about, you know, living your life after whatever happens
to you, you choose. You have to have your weapon of
choice to survive your life and,you know, make it your life
again, you know, despite the sadstories that happened in your
life. And I'm not saying that anyone
can do it because I was quite fortunate.
(27:23):
My family is quite solid. My family could financially
support me to do whatever I wanted.
And, and I know that there are lots of people that have had
traumatic events, but they can'tget themselves out of it because
they don't have support. So I'm not saying that, you
know, it's up to you. It's also up to the society, I
think, but I want to share that resilience is that the
(27:47):
resilience is important in our life.
And I want to put, I want peopleto see how I am now compared to
what happened in the past. And it's OK.
Life is actually going to be OK,but you just have to have your
weapon of choice ready metaphorically, not physically.
(28:09):
I'm not sure. So maybe I will have some people
approaching me if I ever have anexhibition.
I did have someone actually approaching me one day after
reading my artist statement and I was quite shocked.
I was like, Oh my gosh, you readthis because you're right.
I don't know if any artists do. I'll write artist statements and
put it up on the Internet thinking no one's not going to
read that. They're just screen scrolling,
(28:29):
doom scrolling on Instagram. And then someone came to me and
was like, Oh, yes, I read your statement and, and she shared
her story and I was like, Oh my goodness, I didn't know so much
effect that I had on this conversation.
And it was, it was daunting. It actually was daunting.
But I, I was glad when I got home.
(28:50):
I was really pleased. Wonderful.
Yeah. And you said you're not a
leader, but that sounds like true leadership.
I I mean, being the person who'sbrave enough to put their story
out into the world. So then others can find their
voice, and that is ultimate power.
(29:11):
I mean, that's just so powerful.And yeah, I mean Army, I think.
Yeah, just. I suppose I was hoping to lead
to a question around community, around how community builds
around the work you do. Perhaps that isn't something
(29:32):
that's happening just yet, but the where you have individual
people who are you know, they stop scrolling, they they, they
stop, they read your artist statement.
They want to know more and then that empowers them to to share
their story with you. I suppose before I get to the
(29:53):
community question is, is, you know, how do you respond and are
you prepared for more of these stories to come come at you?
And you know, and that's, and that does lead into the idea of
community then is, is would you then need more support around
you to be able to have more openconversations, be able to, you
(30:18):
know, because is it something you're comfortable getting?
And if not, how, how? How is that going to to work out
for you? No, that's a good question.
I'm definitely not trained and I'm happy to listen and I think
every time you hear a story or Ihear a story I do, it do affect
(30:42):
me in some shape or form. And I'm not a counsellor.
I must say I can only listen if someone needs help.
Obviously I can only delegate them.
So we'll give them just suggestion.
I'm not qualified to do that. I'm, I'm just one of them
really. So that's actually a support
network. In fact, so coping, coping with
(31:07):
trauma. I never actually went to a
counsellor. And then when I started working
on this project, I actually wentinto a shock mode after creating
one piece of work because I'm digging in deeper into things
that happened over 20 years ago and looking back and actually
the memories are coming out likea open a can of worm.
(31:29):
Yeah. And I actually went, I think,
three to four days. I still went to work because I'm
quite capable. So what happens is when a child
experiences trauma, they tend tohide it like I did.
So they cope. They learn how to actually put
it all under the fate, like a just all done undercover.
(31:50):
So I still went to work, taught,still fine.
And but at lunchtime, Reese is like a verge of tears.
And I was like that touch and go3, three or four days.
And then then I actually, I'm like, hang on, I have to stop
here. I need some help.
So I actually asked for help. So and I went to see a
(32:13):
counsellor and it was OK. I only went for a couple of
times and I was back to who I was.
But yes, I think when you share or start digging into that
feelings, people can go in that really a verge of tears.
And I if if someone experienced that, obviously I'm happy to
provide delegate, you know, responsibility or what, you
(32:38):
know, just guide them through. But yeah, I'm just here.
Yeah. Yeah, No, I think you said you
know that peer network, that support network and there are
groups out there and I will makesure that in the show notes
there are links. So if anything, if if anyone
listening to this podcast is experiencing anything right now,
(33:02):
you know, please refer to the show notes.
There are support services out there that can really help you.
Yeah. No thanks.
Minami. I yeah, it and that's, I think
that is an interesting dilemma, if you like, for artists who do
put themselves out there into the world.
It is when others respond, how do we deal with that response?
(33:23):
So yeah, there are other ways to, to, to tackle these things,
but it's, it's so important thatsomeone like yourself is leading
the way to, to begin a conversation and to bring these
things out into the open. Art is a way to open up
(33:45):
conversations perhaps more than anything else, particularly, as
I said, you know, when when there are no words.
So, yeah, it's, I don't know where I was going with that, but
what I really would love to do is to change tacks slightly is
how so you're, you said that you've been teaching 13 years
(34:08):
teaching. 15 years. 15 years sorry local high school here in
Launceston. And how does and and then to
juxtaposition the day job with your hobby in the night time?
I mean, how does that come into the into the studio at school?
(34:30):
How does it come into the classroom?
And how you know does it Or do you keep the two separate?
Or you know, how does the day job juxtapose or intersect with
your hobby? So I actually don't teach
photography as much at my work. I I'm actually an art teacher,
(34:52):
so I so it's completely different, I guess, but I'm
still in the art scene. I have one photography class,
but look, it's completely different.
I don't brag about myself in front of I'll just I'm just a
(35:13):
teacher really. They wouldn't even know who I
am. No, I, I suppose I wondered, you
know, just in terms of your own approach to teaching and, and
how perhaps your own arts education, you know, how, how,
(35:36):
how that informs. But you you'll have a curriculum
that that you'd be following I Ipresume?
And yes, and. So there would be particular
things you'd need to take off on, and you wouldn't necessarily
be able to deviate too far from that.
No, no. But do I do have a flexibility
of, you know, for instance, photography like I do get to
pick an artist. You can look at a an artist like
(35:59):
Sally Mann and talk about familyheritage and photography.
Yeah, and everything. Not that we do that, but that's
just an example that we could do.
So I'll get to put give my input.
I guess I like, I'll get to talkabout the artist that I'm
passionate about or the art style that as long as you
(36:21):
actually go along with Akara Australian curriculum, we can
tick the boxes. Yeah, given that it suits the
the E groups capability and alsoI guess concept and everything.
And also I think taking photos of being an artist at night time
(36:44):
on weekends only, that helps me to become more passionate.
Yeah, generally I'm passionate about art, but now that I'm also
a practising artist, I'm always researching.
So my knowledge is is getting bigger and bigger and bigger,
even though I can't remember lots of artists name.
It's just about thing, but it helps.
(37:05):
So it takes to the tango, I think.
Like I didn't create art for a long time after uni, but I was
in the art scene and then teaching students some skills,
you know, planning drawing and also looking at artwork
together. And that really helps.
Just just just, it really helpedme to become a better artist
(37:26):
because I'm actually aware of how people learn how people
create artwork. And so it's quite separate my,
my day, daytime job and a nighttime identity.
I don't know, whatever we would like to call it.
And they're, they're in the samefield, but quite different, yes.
(37:49):
Yeah, yeah, yeah, yeah. Day and night.
But yeah, it, it is. And I think that for me is, is,
is really interesting. You know, I, I, I think every
guest I have on the podcast navigates work, arts work,
(38:09):
practice, profession, the intersections that, that
differently. And yeah, I've been at.
I liked how you, you, you framedit that, that I suppose with a
young family, with a, with a full time job, that time you
have to yourself is absolutely precious.
(38:32):
And hence why you just throw yourself into that rather than
online shopping. Yes.
Yeah, no. And, and I, I mean, there's a
lesson in, in, in that for us all.
You know, rather than sit there doom scrolling or be seduced by
the ads and all the rest of it, like at which I am guilty of
(38:54):
myself, you know, pick up a photo book.
Yeah. I, I, I have a good friend in
London who, who, who said, yeah,there is not a day does not go
by without him picking up a photo book and, and I, and you
can see how that influences his practice.
And yeah. So I was going to ask you if
(39:18):
Keith Herring has ever come intothe classroom with you bit.
Rude. He could be a bit rude, I don't
know. Actually, that's a lie.
No, there are some pictures thatI can show to my students,
Definitely. So I have shown a couple.
I'll just don't. I'll tell them not to research
(39:39):
about him. I'll just show them his photos.
Sure. Yeah, yeah.
It's tricky, I think, working with a high school student.
There's so many great artists that I want to share with.
But then, you know, Google, backin the day, you could tell them
about the artist and you just throw them a book.
And it was quite limited. But now they research artist's
(40:01):
name. And then there can be lots of
images that we we shouldn't be showing young children.
Yeah, yeah. Which they're not yet prepared
for, I suppose, But yeah. And that, that that's that for
me is that is the fascinating thing for me is that that you
yourself are making art which has a very strong message and a
(40:23):
very important message. Yeah.
But then you're not allowed to take that into the classroom or
you're not. You were.
It just there isn't a place for it in the classroom.
No, they were. The only thing that I can share
with my students is my skills and knowledge.
But it's not about me, it's about them.
Yeah. There's no need for me to share
my artwork. There's so many other great
artworks and artists that I can share.
(40:45):
There's no need. There's no room for me, but for
instance, like Mapplethorpe, I'dlove to show his works to my
students. Yeah, but I can't.
Just little things like that. Something that you wouldn't have
to worry about if you're a lecturer, maybe at university,
but I need to protect our young people.
(41:05):
So that's just a bit of a difference that I just have to
make sure that I'm not confused.Yeah.
In the process of yeah. Yeah, absolutely.
Yeah, Yeah, I know this. That's given me a lot of food
for thought. Yeah.
You know, as a university academic for 20 years, yeah.
For me, it's always been about opening up minds, as you say,
(41:28):
not about me, it's about the students, but but helping them
to think critically about the world.
And it's just a different age group.
So, yeah, I have a bit more freedom.
Look, I really want to get to the future.
So are you, are you going to, you know, you, you're going to
keep having these sleepless nights when you're, you're up
(41:48):
late photographing in your in your kitchen studio and
submitting and getting your workout into the world.
What, what, what is it? What is, what is, what does it
look like now for the near future?
Perhaps you know where where where where do you want to go
next with your work? Yes, my current series Weapon of
(42:09):
Choices, I don't think it's nearly finished, but I'm a bit
past taking photos self-portrait.
Now I'm actually in a stage of collecting images and like for
instance, I recent I was recently back in Japan, so I
went through my wardrobe in my parents house and I found all
(42:31):
sorts of cool stuff that I coulduse for the series.
So I'm in that stage now editingand sorting things out.
So there's a lot of computer work which is not that exciting.
Oh, it is exciting, but not compared to taking photos.
But I'm also thinking of next projects and that's a good
(42:53):
indication of it's time to move on from my current series
because my mind is drifting away.
So I've got a couple of things happening already in my dreams,
so that's good. So once this is all done, yes,
I'll start taking photos again and I'd like to go back into
(43:18):
more like a hands on, not just photo taking photos, but collage
and even painting on photographs.
I think I'd actually love to go back to that visual art side of
it because that's what I did at university.
So yeah. Yes, yeah, yeah, yeah.
(43:41):
It sounds like you're just at the the beginning of of a of a
journey. My my hobbies do change a lot,
so maybe entering our prize might not be a thing when you
talk to me next year you might be back to knitting, I don't
know. Well, there you go.
Thank you, you. You'll definitely be back for
Season 3 or maybe 4 or wherever we get to, but at some point in
(44:04):
the future of Minami, I would love to, to, to, for you to come
back and tell us where you're atthen.
And look, your work is so important.
It's, it's so beautiful and, andI appreciate how painful it, it
has been for you and your bravery.
Your leadership is is is is inspiring, inspires me and
(44:30):
listeners. I hope it inspires you too.
So, Minami, thank you so much for joining us.
Thanks, Tim. And yeah, look forward to
talking again soon. Oh.
Thank you. Thanks for listening to this
episode of Connect Curate, Create.
I hope you found inspiration andinsights that you can apply to
(44:50):
your own creative work. For highlights and links, check
out the show notes and be sure to follow us on your favorite
podcast player so you never missan episode.
TuneIn next time as I continue to explore life and work in the
arts.
Welcome back to the podcast. This week we're sharing one of
my favourite episodes so far, part of our new series of recap
episodes. While we're busy producing new
content for the podcast, YouTube.
And our brand new. Patreon channel.
That's right. Connect, curate, create.
(00:21):
Is now on Patreon. It's a dedicated space to learn,
share, and grow together, and here's why we built it.
Do you? Feel like your art has?
Been seen by the right people. Are you getting the kind of
feedback that actually helps yougrow?
Do you have a space where you can learn with other artists?
Really get what you're doing. If you answered no to any of
(00:45):
these questions, Connect Curate Create is here for you.
Our Patreon community gets exclusive and early access to
content, behind the scenes videos, key takeaways from
episodes and events, access to live discussions with our
guests, and so much more. So if you're ready to grow your
(01:06):
creative practice with the support of a collaborative
learning community, click the Patreon link in the show notes
and join us today. Now let's get into another
brilliant episode packed with ideas and inspiration for your
own creative journey. Art is the best form for me to
express pain and also reach out to people who have suffered
(01:30):
similar situation. I'm not an activist, I'm not a
leader, I'm not a great leader, but I can do this.
This is my part. I'm going to share this with the
world. It's not just about sharing what
happened to me but also it's about resilience.
It's about, you know, living your life after whatever happens
(01:52):
to you, you choose. You have to have your weapon of
choice to survive your life and,you know, make it your life
again. In this episode, I talked with
Minami Ivory, an artist and educator based in Launceston.
TAS Minami shares moving and important insights into how and
(02:14):
why she practices art. She offers exceptional insights
into how she makes time and space to explore a practice, art
as a means of communicating pain, and how her artwork is not
only being recognized by arts prize panels, but also
(02:34):
empowering other women to speak out about their own experiences
of pain. Minami bravely and openly
discusses her experiences of trauma and pain.
And so if some of the content inthis episode effects you, please
refer to the show notes where wehave provided links to
Australian Government recommended support services.
(02:54):
Or call Lifeline on 13/11/14. That's 131114.
If you're listening elsewhere inthe world, we recommend you
search your government website for links to relevant support
services. Be sure to also check out the
(03:16):
show notes for highlights and links that you can use to shape
your own journey. If you learned something from
this episode, follow us on your favorite podcast app and tell
your friends about Connect, Curate, Create.
Welcome to Season 2 of the podcast.
(03:36):
We are back in Enterprise Tasmania in Launceston and this
week I am speaking with Minami Ivory.
Minami is an artist and an educator and I first met Minami
at Photo Book Launceston, which is a collective that I Co
(04:00):
founded when I first moved here as a way to meet other
photographers. And I'm so thrilled to have met
Minami. So Minami, without further ado,
welcome. Thank you.
Yeah, Minami, look, it is great to speak with you here on the
podcast. We've met a few times.
I love your work and and I love sharing photo books with you.
(04:25):
We always have great dialogues around that.
But I have to say I don't reallyknow an awful lot more than
that. So yeah, this is a really a
journey of discovery today. And what the one thing I do know
about Human Army is your work is, is receiving a lot of
attention right now and you've you've entered a lot of work
(04:47):
into prizes and awards recently.And I'd just love to know your
motivations behind that. Well, it's become a bit of a
hobby, which sounds awful because I hate it when someone
says, oh, so you work as a teacher full time.
It's like, yes, yes. So what's your photography is
your hobbies like? No, photography is who I am.
(05:08):
I'm an artist. But entering competition has
become obsession. So it's a little bit like,
sounds a bit strange, but it's alittle bit like online shopping.
So you have a couple of wine at night time after children go to
bed and I look online for up prizes.
And then I get comfortable and confident because I had a couple
(05:30):
of glasses of wine, which doesn't sound great.
And then I'll start looking at my work and then I'll actually
decide what kind of prizes and Ilook for I should enter in the
future and I'll write it down. And then it becomes my hobby.
So I no longer do online shopping.
I enterprises at night time. Fantastic.
(05:51):
Are you saving money while you're doing it?
Kind of it costs money to enter,I must say.
It's not cheap, but it's cheaperthan shopping online.
Yes, that's correct. But sometimes I regret because I
do it in a rush and then I look back and think, Oh my goodness,
what was I writing when I entered that competition?
(06:12):
But no, it, it, it's and I'll get so many rejection emails.
It's not funny. Sometimes I feel like taking
screenshots of rejection emails and putting it as a real onto
Instagram. And then once and every now and
then I get this really nice e-mail about congratulations,
you got in. And it's nice.
(06:35):
It's it's really hard to get rejected 'cause you actually put
so much effort into your work. But also I know that I shouldn't
take it too personally. Yeah, that's, that's that's a
great lesson. Yeah.
Look, I've, it's the same in academia as a as a researcher,
I've spent 20 years as a researcher and the rejection
(06:58):
letters from academic journals, yeah, they hurt every time.
And but I do think that that is a symptom of the world we live
in today. And I I think that few
professions know better than artists.
This. This.
Yeah. So you're I I love the fact that
(07:19):
you treat it as a hobby. The competition bit, yes.
But it it so you're. Yeah, so, so you're, I hadn't
realized just how, how many applications you're, you're
sending out there, but what I see from your Instagram
following you on Instagram, you know, is, is that a, a certain
amount of success. And you know, so, so yeah, every
(07:43):
once in a while. And it seems to be more and more
often that that that you're posting that.
And I think you do it very well in in that, you know, there's no
bragging in this at all, but it's like, wow, thanks for
recognizing my work. And so the most recent thing I
saw on your Instagram was just last week.
(08:03):
I mean, we're recording a few weeks before this goes live, but
the Tasmanian Women's Art Prize.Oh yes, that was really exciting
to be part of it, firstly because it's actually a prize
for all art medium. So it wasn't just photography
and it's actually good that photography is recognised.
(08:26):
So that's the main part. And when I went to see the
prize, there were few photography pieces and they were
beautiful as much as other artworks of course.
And I must say I've been rejected by women's Up prize
couple of times. I must say this.
So it wasn't the first time I was in when it was what was it
(08:47):
called? Material Girl.
OK, I was in it once and then I didn't do, I didn't actually do
any painting because I actually majored in painting when I went
to art school and after I finished had one exhibition and
then I didn't do any painting. I maybe did cut like a here and
(09:09):
there, but my life took me over,had a job, children, the
mortgage to pay for. So I didn't actually do any art
and then all I did was actually take photos of my children.
So I only recently entering competition and it was really
good. It was, it was good to be
(09:29):
recognised in Tasmania because Tasmania is, I think it's got
this different art world, quite different from mainland and
traditional approach to art is more recognised and appreciated
and, and I, I respect it so much.
(09:49):
But I think contemporary art should be as important as
traditional art and I think it'sreally good that a Women's Art
Prize recognises that. Yeah, absolutely.
I I couldn't agree more. As as a photographer, whenever I
introduce myself as such, peoplesay, oh, landscape, yes.
(10:12):
Well, no actually, but look, there's a few things there.
We didn't really get into your photographic practice, but
perhaps before we get into photographic practice, because
you've just opened up something there that you photography
wasn't necessarily the focus of your practice at art school.
(10:33):
So, so perhaps you could take usback, in fact, before we get to
art school, how about, you know,where what role plays in your
life and, and you know, where, where did that come from
originally? And yeah.
Art came by surprise. So I was born and raised in
Japan and all I loved was English.
(10:54):
I just loved learning about different culture.
I'd listen to Britney Spees and Spice Girls and I, I would watch
all the movies from the Hollywood and England probably
and get really excited about andbeing able to understand English
words. So English was my passion and
(11:15):
art was always kind of in the background because you learn it
at school. My mum always appreciated it
out. So she'd go to exhibitions and
one day when I was in Grade 7, she brought home a little book
about Keith Haring. Oh, wow, yes.
And I, I looked through his workand, you know, it's colourful,
bold and I loved it instantly. But mum told me about his story,
(11:39):
you know, getting HIV and actually dying quite early.
And also he was an, an activist.So he was voice for gay people
and also, you know, people who got sick from HIV.
And I saw that anger in his paintings and so emotional.
And I didn't know until that daythat paintings should be artwork
(12:02):
could be so emotional. And I nearly brought tears to my
eye. And that was when I was in Grade
7. And when I was in grade 9, we
had a painting task and it was about kind of self-portrait.
It was about ourselves. And I painted something because
year 9 is a difficult year for anyone getting, you know,
(12:24):
getting to know who you are and wondering who you are, what we
what, why are we even here for kind of questions.
And I painted this really energetic painting that skill
wise, not great because but you know, the passion was there.
Like it's so much emotions. And he told a story and my art
(12:46):
teacher then actually wrote whenI graduated from that school,
write down in my ebook, Minami, you're so passionate.
You are going to be an artist. Oh.
Wonderful, yes. And but I was like, what are you
talking about? I love English and then I ended
up moving to Australia or Tasmania actually straight away
and what happened there was I couldn't speak English clearly
(13:09):
and I felt so trapped. It was a struggle.
St. It was so much pain and I felt
like I was so useless because I wasn't in the on the same stage
as Australian students because Icouldn't speak their language
fluently. But Art Room was different
because art didn't judge your language skills.
(13:31):
It was about art. It was a visual language and
there was a welcoming feel to itin The Art Room.
I loved it so much and I could actually compete against
Australian students with my art and I loved it so much that I
was in Art Room all the time, painting.
(13:52):
That's when I decided that art was my thing.
And then I went to our school inLaunceston and I got my teaching
degree because I love stability,didn't want to be struggling
artist. So I taught art at the same
school for 15 years now. And then I took photos of my
(14:15):
children with a good camera. When I saw my first daughter,
Aki was born in 2012. And I bought a good camera
because that's what my dad did. Yeah, in the 90s in Japan, my
80s and 90s, he had this beautiful film camera that he
took a beautiful photos with. Like really nice.
(14:36):
He, he had some good idea about photography, I think always took
up photos of us. It was quite embarrassing.
But it looking back, it's so beautiful.
And so I thought that was the normal thing.
So I had a good camera, took photos of my kids and put them
on Instagram because that's whatyou do as a mum.
Look at my children, how beautiful are they?
(14:56):
And then and I met Sarah Rhodes right through my daughter's
school. And then Sarah said, Minami, you
take good photos, you should enter them in competition.
I was like, you're talking aboutthey're just photos.
And and then she invited me to photo book Launceston.
(15:16):
Oh, and I'm like, OK, well, I dolike taking photos.
And then I joined in. And then Louis Lim photo book
workshop was on and I joined. And then Louis, for those people
that don't know, Louis Lim is based in Brisbane and he, he's a
(15:37):
photographer himself and also he's a printer, but also he runs
workshop of photo book making and he worked with us and he, he
was so good. He actually put together my just
everyday family photo photos into a beautiful book.
And I just couldn't believe how beautiful it turned out.
(15:58):
And, and I'm like, oh, this is this feels good.
I, I love this and also along with the photo Sarah Rhodes
who's also a a great photographer I always look up
to. She took photos of me a few
times for her PhD work and she would takes photos with large
(16:20):
format film camera. And when I saw her in action, I
just couldn't believe how beautiful the process was.
I just did not know. It was just like unknown world
and I was just, it was breathtaking just to see her
taking photos of me. And so that was around
(16:40):
2021-2022. And then that year I thought,
you know what, I'm going to havea go at being an artist.
I'm going to actually take photos with purpose and concept
and I'll see where it takes me. And here I am.
Wow. Incredible.
(17:01):
Yeah. You've just taken us on quite a
journey there. And I hadn't realized that.
Again, as I say, I love your work, but I hadn't realized that
that photography had really onlybecome something that that you
considered part of your practicevery, very recently.
OK. So.
(17:21):
OK. Wow.
This sort of left me speechless.I'm not ready for the next
question now. Look, Minami and so, yeah, so
Sarah is obviously a key influence as you've suggested,
and I should probably invite Sarah onto the podcast.
But yeah, Sarah Co founder of Photo Book Collective.
(17:45):
And yeah, look, I hadn't appreciated the value of that
either, I suppose. But a couple of things that come
out shining through for me. One is very much about you and
your own self-expression. So photography is a medium for
that, but also the power of connection as well.
(18:08):
There that that you've made these connections through your
life. And and Keith Haring is a as a
major influence of Harings work as a as a as a major influence
early on. But how do you see?
How do you see that influencing the work you do today?
(18:28):
Well, love for art of course, but also looking back, it's
actually about pain because I always pain.
Art is the best form for me to express pain and also reach out
to people who have suffered similar situation.
So I do believe I'm still going along with his passion and being
(18:52):
minority perhaps. But colours, I love using
colours in my photography, although I'm drifting away to
black and white 'cause it's really cool as well.
But I love his use of colours and simplicity and the bodies
and so emotional. And you need that.
You need to have that in your artwork to, you know, if you're
(19:14):
not passionate and if you don't have your emotions in it, who,
who's going to see that? Who's going to fill your
artwork? Yeah, yeah, yeah.
And and that must be why you're seeing you're finding success
with putting you out into the world in, in terms of, you know,
personally, I cannot relate to directly to, to the work that
(19:38):
you make, but it is aesthetically it draw it.
I am drawn to this work and I feel your pain.
I just can't relate to it. But that's enough for me to.
Yeah, I just as each project unfolds and I see more and more
(20:00):
of your work, That's yeah, I I, but I don't, you know, I'm not
going to inquire into that. But I suppose that the that must
be, must be. It really is.
Is how? Yeah, how, how you're reaching
out through your work without with very few words.
(20:23):
I, I, I assume, but yeah, do. Is there a particular group of
people that you're trying to reach with your work?
This has been on in my head quite a while.
So who who do I want to approach?
Yeah, reach out to so. So why am I doing my work?
Because I this is how I cope with my pain through art here.
(20:48):
But then why am I doing this publicly?
I think that's the thing. Because if you're going through
trauma, dealing with trauma or pains from the past, why don't
you maybe go and see a counsellor or I'll talk to a
friend behind closed doors. So what am I doing this
publicly? So I've been thinking about
(21:09):
this. Probably the first thing would
be I watched a movie called Blaze by Dale Catherine Barton.
I don't know if you've watched it before.
So powerful and so strong. I watched it on the plane.
I cried. And when I watched that movie,
(21:33):
everything that was on my mind, it just got like, everything
resonated with me when I watchedthat movie.
And I, that's why this titties came out and it felt so good at
the same time. And I wanted to do that as well
as an artist because I, I wantedto be part of that.
(21:56):
Like they'll, they'll Catherine Barton.
I wanted to actually communicatethis idea to the world.
And to start with, I was actually really sheepish.
So I was thinking, oh wow, this is a bit too much.
Why do I want to share, share the world that I've been
(22:17):
assaulted? Why do I need to go around and
tell everyone, What would my husband think?
How would my children think whenthey get to know about my work
when they're older? What do I do?
So I was really sheepish. I wasn't sure about the artist
statement. I didn't even show it to my
husband. He kind of knew what I was up
to, but I didn't really talk to him about it because I take
(22:38):
photos at night time in a kitchen that's my studio or
downstairs. So he could see it.
And then I was really awkward. I didn't want to talk about it.
I was just taking photos and he knew he's got a bit of an idea
of what happened to me. So he he respected it because
he's a really supportive partner.
So he didn't really ask. So I actually approached a
female friends and, and I got them to read my statements
(23:01):
instead and talked about it. But one day I listened to a
podcast with, gosh, I love her name.
I love her so much. Tracy Emmon.
Yes. And Tracy Emmon said she's not
going to stop talking about abortion abuse against women.
(23:22):
She's not going to because the world needs to know.
And she shouldn't be ashamed because the shame should be put
on, put back onto the predators.And that's when I thought, yes,
that's dead, right? So I actually went extreme, like
I just shared everything. I just thought, yes, this is
(23:45):
right. I actually need to get out
there. I'm not an activist, I'm not a
leader, I'm not a great leader, but I can do this.
This is my part. I'm going to share this with the
world and, and see if someone understands me and if they can
feel that emotion that I felt when I watched Blaze.
That's that's awesome. Yeah.
(24:08):
Yeah, yeah, yeah, absolutely. Yeah.
And and you said, you know, being at art school, finding
that art was the way you could communicate.
And when you've got such a strong message, such an
important message to be able to convey through through your
artwork, yeah. When perhaps you know, there
(24:31):
when there are things that therearen't words for or it's
uncomfortable to express in language.
Yeah. To the, so the text in your
photographs really just, it really hits home is, is what I,
what I would say, you know, the,IT makes me feel something that
(24:52):
I don't fully understand, but I know I need to understand, you
know, I need, I know from your work that I need to pay
attention. And so are people paying
attention. Do you?
What sort of feedback do you geton your work?
(25:12):
I do not know. Well, I've, I've, no, I've had
reviews, I've, I've spoken to some people and some people said
wonderful things. I guess some people are
supportive. One thing that I've noticed
because my last series how do I bury if I don't have your body
(25:35):
counted, graded, numbered so long was about me going through
IVF process and infertility and struggle with that.
So that was a bit of a dummy to see how much I can share my pain
through photography where So I recently exhibited that sawtooth
and after after the speech, a woman approached me and she
(25:57):
actually shared her story. And I thought that was beautiful
that for her to actually be ableto come and speak to me about
her experience because no one actually would go, you know,
while having a cup of tea or coffee with your friend.
Hey, by the way, I had a miscarriage.
(26:19):
By the way, I've been assaulted before.
Lucky you don't say that lightly.
So it's actually important to create that space and
opportunity because when you share that, if you wanted to,
it's, it's, it's almost like a sign of relief.
And also knowing that some otherpeople have gone through that,
it's, it makes you feel strong, I think.
(26:39):
And also, you know, that there are always people that will
understand you and support you and a conversation starter.
I think it's, it's, it's great. And I think my current work
called Weapon of choice. It's not just about sharing what
happened to me, but also it's about resilience.
(27:01):
It's about, you know, living your life after whatever happens
to you, you choose. You have to have your weapon of
choice to survive your life and,you know, make it your life
again, you know, despite the sadstories that happened in your
life. And I'm not saying that anyone
can do it because I was quite fortunate.
(27:23):
My family is quite solid. My family could financially
support me to do whatever I wanted.
And, and I know that there are lots of people that have had
traumatic events, but they can'tget themselves out of it because
they don't have support. So I'm not saying that, you
know, it's up to you. It's also up to the society, I
think, but I want to share that resilience is that the
(27:47):
resilience is important in our life.
And I want to put, I want peopleto see how I am now compared to
what happened in the past. And it's OK.
Life is actually going to be OK,but you just have to have your
weapon of choice ready metaphorically, not physically.
(28:09):
I'm not sure. So maybe I will have some people
approaching me if I ever have anexhibition.
I did have someone actually approaching me one day after
reading my artist statement and I was quite shocked.
I was like, Oh my gosh, you readthis because you're right.
I don't know if any artists do. I'll write artist statements and
put it up on the Internet thinking no one's not going to
read that. They're just screen scrolling,
(28:29):
doom scrolling on Instagram. And then someone came to me and
was like, Oh, yes, I read your statement and, and she shared
her story and I was like, Oh my goodness, I didn't know so much
effect that I had on this conversation.
And it was, it was daunting. It actually was daunting.
But I, I was glad when I got home.
(28:50):
I was really pleased. Wonderful.
Yeah. And you said you're not a
leader, but that sounds like true leadership.
I I mean, being the person who'sbrave enough to put their story
out into the world. So then others can find their
voice, and that is ultimate power.
(29:11):
I mean, that's just so powerful.And yeah, I mean Army, I think.
Yeah, just. I suppose I was hoping to lead
to a question around community, around how community builds
around the work you do. Perhaps that isn't something
(29:32):
that's happening just yet, but the where you have individual
people who are you know, they stop scrolling, they they, they
stop, they read your artist statement.
They want to know more and then that empowers them to to share
their story with you. I suppose before I get to the
(29:53):
community question is, is, you know, how do you respond and are
you prepared for more of these stories to come come at you?
And you know, and that's, and that does lead into the idea of
community then is, is would you then need more support around
you to be able to have more openconversations, be able to, you
(30:18):
know, because is it something you're comfortable getting?
And if not, how, how? How is that going to to work out
for you? No, that's a good question.
I'm definitely not trained and I'm happy to listen and I think
every time you hear a story or Ihear a story I do, it do affect
(30:42):
me in some shape or form. And I'm not a counsellor.
I must say I can only listen if someone needs help.
Obviously I can only delegate them.
So we'll give them just suggestion.
I'm not qualified to do that. I'm, I'm just one of them
really. So that's actually a support
network. In fact, so coping, coping with
(31:07):
trauma. I never actually went to a
counsellor. And then when I started working
on this project, I actually wentinto a shock mode after creating
one piece of work because I'm digging in deeper into things
that happened over 20 years ago and looking back and actually
the memories are coming out likea open a can of worm.
(31:29):
Yeah. And I actually went, I think,
three to four days. I still went to work because I'm
quite capable. So what happens is when a child
experiences trauma, they tend tohide it like I did.
So they cope. They learn how to actually put
it all under the fate, like a just all done undercover.
(31:50):
So I still went to work, taught,still fine.
And but at lunchtime, Reese is like a verge of tears.
And I was like that touch and go3, three or four days.
And then then I actually, I'm like, hang on, I have to stop
here. I need some help.
So I actually asked for help. So and I went to see a
(32:13):
counsellor and it was OK. I only went for a couple of
times and I was back to who I was.
But yes, I think when you share or start digging into that
feelings, people can go in that really a verge of tears.
And I if if someone experienced that, obviously I'm happy to
provide delegate, you know, responsibility or what, you
(32:38):
know, just guide them through. But yeah, I'm just here.
Yeah. Yeah, No, I think you said you
know that peer network, that support network and there are
groups out there and I will makesure that in the show notes
there are links. So if anything, if if anyone
listening to this podcast is experiencing anything right now,
(33:02):
you know, please refer to the show notes.
There are support services out there that can really help you.
Yeah. No thanks.
Minami. I yeah, it and that's, I think
that is an interesting dilemma, if you like, for artists who do
put themselves out there into the world.
It is when others respond, how do we deal with that response?
(33:23):
So yeah, there are other ways to, to, to tackle these things,
but it's, it's so important thatsomeone like yourself is leading
the way to, to begin a conversation and to bring these
things out into the open. Art is a way to open up
(33:45):
conversations perhaps more than anything else, particularly, as
I said, you know, when when there are no words.
So, yeah, it's, I don't know where I was going with that, but
what I really would love to do is to change tacks slightly is
how so you're, you said that you've been teaching 13 years
(34:08):
teaching. 15 years. 15 years sorry local high school here in
Launceston. And how does and and then to
juxtaposition the day job with your hobby in the night time?
I mean, how does that come into the into the studio at school?
(34:30):
How does it come into the classroom?
And how you know does it Or do you keep the two separate?
Or you know, how does the day job juxtapose or intersect with
your hobby? So I actually don't teach
photography as much at my work. I I'm actually an art teacher,
(34:52):
so I so it's completely different, I guess, but I'm
still in the art scene. I have one photography class,
but look, it's completely different.
I don't brag about myself in front of I'll just I'm just a
(35:13):
teacher really. They wouldn't even know who I
am. No, I, I suppose I wondered, you
know, just in terms of your own approach to teaching and, and
how perhaps your own arts education, you know, how, how,
(35:36):
how that informs. But you you'll have a curriculum
that that you'd be following I Ipresume?
And yes, and. So there would be particular
things you'd need to take off on, and you wouldn't necessarily
be able to deviate too far from that.
No, no. But do I do have a flexibility
of, you know, for instance, photography like I do get to
pick an artist. You can look at a an artist like
(35:59):
Sally Mann and talk about familyheritage and photography.
Yeah, and everything. Not that we do that, but that's
just an example that we could do.
So I'll get to put give my input.
I guess I like, I'll get to talkabout the artist that I'm
passionate about or the art style that as long as you
(36:21):
actually go along with Akara Australian curriculum, we can
tick the boxes. Yeah, given that it suits the
the E groups capability and alsoI guess concept and everything.
And also I think taking photos of being an artist at night time
(36:44):
on weekends only, that helps me to become more passionate.
Yeah, generally I'm passionate about art, but now that I'm also
a practising artist, I'm always researching.
So my knowledge is is getting bigger and bigger and bigger,
even though I can't remember lots of artists name.
It's just about thing, but it helps.
(37:05):
So it takes to the tango, I think.
Like I didn't create art for a long time after uni, but I was
in the art scene and then teaching students some skills,
you know, planning drawing and also looking at artwork
together. And that really helps.
Just just just, it really helpedme to become a better artist
(37:26):
because I'm actually aware of how people learn how people
create artwork. And so it's quite separate my,
my day, daytime job and a nighttime identity.
I don't know, whatever we would like to call it.
And they're, they're in the samefield, but quite different, yes.
(37:49):
Yeah, yeah, yeah, yeah. Day and night.
But yeah, it, it is. And I think that for me is, is,
is really interesting. You know, I, I, I think every
guest I have on the podcast navigates work, arts work,
(38:09):
practice, profession, the intersections that, that
differently. And yeah, I've been at.
I liked how you, you, you framedit that, that I suppose with a
young family, with a, with a full time job, that time you
have to yourself is absolutely precious.
(38:32):
And hence why you just throw yourself into that rather than
online shopping. Yes.
Yeah, no. And, and I, I mean, there's a
lesson in, in, in that for us all.
You know, rather than sit there doom scrolling or be seduced by
the ads and all the rest of it, like at which I am guilty of
(38:54):
myself, you know, pick up a photo book.
Yeah. I, I, I have a good friend in
London who, who, who said, yeah,there is not a day does not go
by without him picking up a photo book and, and I, and you
can see how that influences his practice.
And yeah. So I was going to ask you if
(39:18):
Keith Herring has ever come intothe classroom with you bit.
Rude. He could be a bit rude, I don't
know. Actually, that's a lie.
No, there are some pictures thatI can show to my students,
Definitely. So I have shown a couple.
I'll just don't. I'll tell them not to research
(39:39):
about him. I'll just show them his photos.
Sure. Yeah, yeah.
It's tricky, I think, working with a high school student.
There's so many great artists that I want to share with.
But then, you know, Google, backin the day, you could tell them
about the artist and you just throw them a book.
And it was quite limited. But now they research artist's
(40:01):
name. And then there can be lots of
images that we we shouldn't be showing young children.
Yeah, yeah. Which they're not yet prepared
for, I suppose, But yeah. And that, that that's that for
me is that is the fascinating thing for me is that that you
yourself are making art which has a very strong message and a
(40:23):
very important message. Yeah.
But then you're not allowed to take that into the classroom or
you're not. You were.
It just there isn't a place for it in the classroom.
No, they were. The only thing that I can share
with my students is my skills and knowledge.
But it's not about me, it's about them.
Yeah. There's no need for me to share
my artwork. There's so many other great
artworks and artists that I can share.
(40:45):
There's no need. There's no room for me, but for
instance, like Mapplethorpe, I'dlove to show his works to my
students. Yeah, but I can't.
Just little things like that. Something that you wouldn't have
to worry about if you're a lecturer, maybe at university,
but I need to protect our young people.
(41:05):
So that's just a bit of a difference that I just have to
make sure that I'm not confused.Yeah.
In the process of yeah. Yeah, absolutely.
Yeah, Yeah, I know this. That's given me a lot of food
for thought. Yeah.
You know, as a university academic for 20 years, yeah.
For me, it's always been about opening up minds, as you say,
(41:28):
not about me, it's about the students, but but helping them
to think critically about the world.
And it's just a different age group.
So, yeah, I have a bit more freedom.
Look, I really want to get to the future.
So are you, are you going to, you know, you, you're going to
keep having these sleepless nights when you're, you're up
(41:48):
late photographing in your in your kitchen studio and
submitting and getting your workout into the world.
What, what, what is it? What is, what is, what does it
look like now for the near future?
Perhaps you know where where where where do you want to go
next with your work? Yes, my current series Weapon of
(42:09):
Choices, I don't think it's nearly finished, but I'm a bit
past taking photos self-portrait.
Now I'm actually in a stage of collecting images and like for
instance, I recent I was recently back in Japan, so I
went through my wardrobe in my parents house and I found all
(42:31):
sorts of cool stuff that I coulduse for the series.
So I'm in that stage now editingand sorting things out.
So there's a lot of computer work which is not that exciting.
Oh, it is exciting, but not compared to taking photos.
But I'm also thinking of next projects and that's a good
(42:53):
indication of it's time to move on from my current series
because my mind is drifting away.
So I've got a couple of things happening already in my dreams,
so that's good. So once this is all done, yes,
I'll start taking photos again and I'd like to go back into
(43:18):
more like a hands on, not just photo taking photos, but collage
and even painting on photographs.
I think I'd actually love to go back to that visual art side of
it because that's what I did at university.
So yeah. Yes, yeah, yeah, yeah.
(43:41):
It sounds like you're just at the the beginning of of a of a
journey. My my hobbies do change a lot,
so maybe entering our prize might not be a thing when you
talk to me next year you might be back to knitting, I don't
know. Well, there you go.
Thank you, you. You'll definitely be back for
Season 3 or maybe 4 or wherever we get to, but at some point in
(44:04):
the future of Minami, I would love to, to, to, for you to come
back and tell us where you're atthen.
And look, your work is so important.
It's, it's so beautiful and, andI appreciate how painful it, it
has been for you and your bravery.
Your leadership is is is is inspiring, inspires me and
(44:30):
listeners. I hope it inspires you too.
So, Minami, thank you so much for joining us.
Thanks, Tim. And yeah, look forward to
talking again soon. Oh.
Thank you. Thanks for listening to this
episode of Connect Curate, Create.
I hope you found inspiration andinsights that you can apply to
(44:50):
your own creative work. For highlights and links, check
out the show notes and be sure to follow us on your favorite
podcast player so you never missan episode.
TuneIn next time as I continue to explore life and work in the
arts.
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