October 12, 2023 • 41 mins
In this episode, Steph catches up with Helen Fuller in the artist’s home studio. Steph asks Helen about the range of mediums she has used over the years, what it’s like to have a book published about her career, and Helen gives context to the artwork that featured on the 2023 SALA Poster & program. They also chat about the influence of family on her artmaking, and the joy of coming home from walks with a pocket full of curiosities. Her exhibition Shedding is on at Adelaide Central Gallery until 27 October 2023.
Show notes
- Interview Transcript (PDF)
- Helen Fuller, Samstag Museum of Art, UniSA, Adelaide Festival 2022 / catalogue
- Helen Fuller (book) Wakefield press
- SALA Feature Artist: Info / Archive
- South Australian Living Artist Publication
- Shedding, at Adelaide Central Gallery (until 27 October 2023)
Music: Raven Warble - Chad Crouch
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Unknown (00:18):
[music]
Steph (00:18):
Hello, and welcome to the SALA podcast. My name is Steph
and today I have the pleasure ofcatching up with Adelaide born
artist Helen Fuller in her homestudio in the suburbs of
Adelaide. Thank you for turningthe air con - it's a lovely warm
day, and it's beautiful andquiet. We've had to come through
the trees to get here, and it'sit's very special to be here. I
(00:42):
will acknowledge that we aremeeting on the traditional lands
of the Kaurna People and payrespect to Elders past, present
and emerging. Helen, thank youfor inviting me in and making
time to chat today.
Helen (00:57):
Thank you.
Steph (00:59):
I must confess, we have the same last name. And I went
through a rabbit hole of tryingto figure out if we were related
last night, and I didn't findanything. Okay, you're lucky.
But I can thank you because Iinadvertently found a few more
rungs on the family tree. Sothanks for that.
And coming back to what we'rehere for the interview, I better
(01:21):
just acknowledge also that I'mnot even going to attempt to
cover as much ground in thischat as there is in the book
about you that's just come out.We can definitely talk about
that later. But let's let's keepit simple and start with how did
you find your way to becoming anartist?
Helen (01:39):
Um, well, it was a long way, a long pathway. Well, if I
think back just to earlychildhood really just playing
around and drawing and fiddling,that somehow or other, when I
(02:00):
went to school, I really enjoyedart classes. They were very just
using horrible old greasy waxcrayons, and butchers paper. But
that was the material medium atthe time. But I knew that every
week, I'd just look forward tothe art lesson where you could
just relax and be who you wantedto be. So I could only see it as
(02:26):
a pathway from stepping along.But in my family household there
wasn't any art practice. Dad wasan engineer, so he did have
graph paper and very... what wasit... double H lead pencils with
very sharp points and rulers andthings
Steph (02:48):
so good tools?
Helen (02:49):
Yeah. Yeah. And I guess he taught you to draw freehand
straight lines, and sharparrows.
Steph (02:59):
mm, I bet!
Helen (02:59):
But yeah, not. You know, like you see lucky kids now that
are just gung-ho into a pile ofpaint; parents indulging, going
to the art shop and coming backwith the best. No. It was all
minimal. But when it came toschool, primary school,
(03:23):
particularly the chalkboarddrawings, that I was always the
one that got invited to draw theholly or the Easter rabbit or
whatever, because obviously myskill base was recognized in the
classroom, but not at home.
Steph (03:43):
Well, maybe Yeah, that does sound like you were given
the job of artist, as early asthen. So yeah, that's great. Now
you've worked across -we haven'tquite touched on them yet- but
you've worked across variousmedia and materials. Two
dimensional work, threedimensional work... when someone
in the present day asks you whatmedium you work in, is there a
(04:05):
simple answer?
Helen (04:06):
No. No simple answer, but probably more relevant in the
last, I think about 12 years, 14years, I've I have been making
ceramic pots, "useless pots",basically forming the, you know,
vessel form called pots and Ijust hand build, and I find it
(04:30):
easier to go and make anotherpot than to go and do a work on
paper or painting. It's justprobably the immediacy of
putting the hands into the clay.And you just get started
straightaway... whereas yeah...it's not as hard on your head.
Steph (04:49):
No it's more tactile and yeah, fantastic. Do you consider
yourself as someone who has, youknow, maybe moved through
different favored mediums atdifferent times, or is it more
that you've just collected thesedifferent languages to sort of
have at your disposal?
Helen (05:07):
I suppose maybe in my weird history of getting to art
school, it was. I, I wanted togo to art school full time.
I've, I didn't do well enough atschool. And my father therefore,
prevented me from going and so Ijust had to go leave school and
(05:29):
get a job. One of them as aclerk in an insurance company,
like really, just jobs. And theneventually, I did get to art
school, only part time, but inthe I studied to be a secondary
art teacher. So when you didthat, the art school time was
(05:49):
all split up into many differentsubjects from life drawing,
drawing, tech drawing, painting,textile, printmaking. So I
suppose the fact that I reallyliked art as a kid, I think I
just probably did reasonablywell in all areas, but then you
(06:14):
you didn't follow things foryourself, they were prescribed
subjects to achieve a goal andhand in work. I guess I always
did okay. But ya know, maybethat just made you diverse in
your skill base. And I suppose,within my family, there were
(06:40):
people that were into craft likewoodwork and mum sewing and I
guess that came into it, whereif you're going to do something,
you had to do it properly. Soyou skill ups. Yeah. Back of the
sewing had to be as good as thefront of it. So yeah, I do have
(07:01):
those, and I suppose when I havebeen making things, you just
sort of free range through whatskill you need to make something
happen. Yeah, yeah. Don't knowhow you say it really.
Steph (07:17):
So they're not, you know, super distinct different modes
per se. It's more just ahappening.
Helen (07:22):
Yeah. And it's sort of sometimes I think of myself as a
'Jack of all trades, master ofnone'.
[music]
Steph (07:34):
Now can I ask -I don't know if this is going to be an
easy or a hard question- butwhat themes are you exploring in
your work?
Helen (07:42):
Well, I think a lot of my work has been probably
autobiographical and probablyreplaying aspects of my
childhood experiences. My fathergoing to the rubbish tip, with a
trailer full of junk, trailerfull of junk coming home from
(08:06):
tip. 'cause Dad always hadprojects. And so we were all
involved as scavengers to gleanthe tip. And I think that part I
think I've always been prettyinterested in recycling as you
know, a proper way of looking atit but in actual fact it's just
(08:27):
just loving rubbish and playingwith it and probably because it
had been discarded there's nouse for it. But within your
creative self, you see all thesepotentials and tinker away and
you don't have to have money togo to the shop to buy these
materials. Generously donate itback into the tip, so yes, I
(08:54):
think that fascination forold...
Steph (09:02):
Do you think there was a preciousness for the object from
from some of that? Or was itmore about the vehicle for other
things?
Helen (09:10):
A bit of both really, isn't it. Because, I mean, I
still if I'm walking and you seesomething that had broken
crockery or whatever, I willpick it up. Or seeds, or leaves,
or whatever. It's something Idid when I was young, and I'm
(09:31):
not young now, but I can stilljust bend over and reach without
going into it. But um, yeah, Ithink because if you look around
here, there's all scavenged bitsand pieces. I have a dog and the
(09:52):
dog walking... This is a reducedthing here but a lot of bark
coming off of trees a whilewhile ago, and there were kind
of stunning curling pieces. Andso some of that bark too, I use
to texture into the pots as welllike printing, form printing
(10:16):
with leaves and things. Banksia.
Steph (10:20):
Oh, yeah, look at that, such a spiky branch.
Helen (10:25):
Which, that all links into the pottery that I have
been making as well, whichprobably informed by looking at
seedpods.
Steph (10:37):
Actually, now that I'm looking around here, this dried
bits of nature and all in sortof pockets of the room.
Helen (10:44):
Yeah. That paper form, which was from a earlier
exhibition from years ago thatwas about wallflowers, and
pattern cut to the style thatmum would have made as a dress
for me when I was a kid. Andhanging it upside down it
(11:07):
becomes vessel-like, rather thanfrock-like. Yeah. And there was
that thing to that Methodistupbringing that you didn't have
a lovely full skirt of fabricthat you could twirl. It was
just as functional, try and getsomething to cover your body as
(11:28):
cheap possible without showingand revealing.
Steph (11:32):
Yep, no surplus fabric.
Helen (11:34):
no.
Steph (11:36):
Yeah, what a great connection. And what do you
think it is that really drivesyou to explore those kinds of
things and keep returning tothem,
Helen (11:51):
I think came probably more after I had my son, well
post his birth I ended up comingback to Adelaide from Brisbane
and I did my master's degree atUniSA down at Underdale. And I
think my body had changed shapeeverything. In fact, my whole
(12:13):
life has changed. And I thinkcoming home, my father had died
the day Alex was born. Andcoming home for many reasons. I
think confronted with the familyagain, because when I lived in
(12:33):
Brisbane, I was up there totallyby myself, there was no family
connection whatsoever. So yousort of created your own weird
self. But coming back, suddenly,you're hit with coming back into
the family after having beenabsent, as a mother. And I
(12:55):
suppose as a mother, you startedwondering more about your
grassroots and influences. And Isuppose that body changing
shape, a lot of the work had todo with clothing. Clothing I
couldn't fit into any more, butalso clothing and dressing Alex
as a baby. Sometimes you'd likewith the opening to put his head
(13:19):
through the arms. Sometimes anightmare. Struggling with that.
So yeah. I started makingsculptures then with like, yeah,
with clothing, stretching,clothing over forms that are a
bit kite-like as well. But Ithink that self thing, apart
(13:43):
from the material self there wasthe psychological.
Steph (13:46):
Yeah. And those changed dynamics.
Helen (13:48):
Yeah and probably depression, became a reality to
that, um, I can say it, I'vebeen medicated for it. But
maybe finding my way throughthat and resolving issues,
exploring.
Steph (14:08):
Yeah. Working through it.
Helen (14:10):
Yeah. Sort of going in to the inside world, rather than
the external.
Steph (14:15):
Yes. Facing it all.
Helen (14:18):
Anyway.
Steph (14:19):
that's great. I think that's what it's all about,
whereall the greatest work comesfrom
Helen (14:24):
depression? [laughs]
Steph (14:25):
Well, the difficult things and facing it head on.
But maybe in a short word,perhaps.
Helen (14:33):
Yeah, well it's therapeutic, and I think that's
even where at the time when Istarted working with clay I had
just finished an exhibition ofpaintings. And they were
becoming rather very fine linesbecause I suppose the painting I
started going into the surface,or the canvas or the weave of
(14:57):
the ... and it got really... Ithink it just got too
Steph (15:05):
too sort of fine?
Helen (15:06):
yeah, something had to...give
Steph (15:08):
Something had to give
Helen (15:09):
Yeah. And I suppose that's where I was friends with
Stephanie Radok and she used togo to a hobby class at Hubby
Court where every kid went totheir art class. So that's when
this was the inspiring pamphletfor Hubby Court
Steph (15:29):
oh lovely.
Helen (15:31):
So that was pottery and sculpture classes at Hubby
Court, and that was where Ifirst touched the clay really.
Steph (15:41):
Wow yeah.
Helen (15:42):
Yeah. So I find that, yeah...
Steph (15:45):
yeah, no it sounds like that's a sort of recurring thing
of 'nope, something's got toshift or sidestep, or, you know,
and there's a new path and newwork. That's awesome.
Helen (15:57):
When I was doing the paintings, I was listening a lot
to -well I still do- ABCclassical. And yeah, it was sort
of like doing these largepaintings with a double O brush,
so really, really fine. And itwas sort of like thinking oh,
(16:22):
classical music like aviolinists take this one stroke
with their [bow] and thinking ohyeah.
Steph (16:29):
the gesture
Helen (16:30):
It was all this strange thinking that I got into,
whereas now rolling sausages tothe handbuild coil pots, or
pinch pots. It still that samestrangeness, but it's multiple
actions, you know, thatrepetition. It whether you're
(16:50):
pressing out a form with yourthumb or rolling a sausage in
coiling.
Steph (16:57):
It's nice how that gesture crosses the material
though, you know from paintinginto the clay, that's still how
you're approaching it.
Helen (17:08):
Yeah well it's still that linear thing.
Unknown (17:11):
[music]
Steph (17:16):
Well, we've both got the lovely book, on our laps and
referring to it, so we, weshould probably talk about it.
So this has just come out. Andit's the outcome of the South
Australian Living ArtistPublication, which is an
opportunity supported by theSouth Australian government
through Arts SA to produce ahigh quality book celebrating
(17:39):
the work of a South Australianartist. And I feel like I'm
watering it down by calling it abook because it's a big
undertaking, you know, there'san application, that then get
selected. And then there's inputfrom so many people: yourself,
the writers Ross Wolfe, SashaGrbich, and Glenn Barkley, Erica
Green of Samstag Museum of Artin UTSA, Melinda Rackham, all
(18:01):
the photographer's images, thedesign, all coming together into
this pretty hefty hardcover bookthat's published here in SA by
Wakefield Press. How do you feelnow that it's out in the world?
Because it's, it's a lot andit's all about you, and, oh,
yeah, I don't know what that'slike.
Helen (18:21):
Well, it's kind of like an affirmation that you do exist
-or did exist. When it wastalked about as being South
Australian living artist Ithought 'I could be the first
dead one'. [both laugh] Butanyway, I managed to survive,
and I'm still here. But yeah,it's interesting, and it was
(18:43):
very clever, it's a handsomelooking book, thanks to everyone
that contributed to making it.But also, I see it, on a
personal level, it's a bit likea diary. And I feel like I own
it, because it is my work. Butit also... my work has gone on
(19:04):
many pathways, tangents, andwhatever, but somehow or rather
being glued in to pages, and,that are bound, and you can flip
through it, I can see. I mean,it brings it together.
Otherwise, it's a prettyscattered life.
[both laugh] It's amazing whenyou can see it through someone
(19:28):
else's perspective, isn't it?Those connections and chaos
becomes a bit more...
Yeah, I know. And when MelindaRackham was in the first phase
of going through my archivalclutter, mess, whatever with
great patience. Yeah, there weremoments where some of it was
(19:51):
almost painful as well becauseit was fit like exhuming the
dead
Steph (20:01):
what a word!
Helen (20:03):
But at the same time, there were, I don't know, just,
Steph (20:07):
yeah, that would be a process
Helen (20:09):
because you're sort of looking at, probably 50 years.
And it feels to me like onlyyesterday I was painting a tree
or something, but at the sametime, I haven't painted a tree
for 50 years or something. And Iguess it's a pathway of having
(20:31):
had many life experiences,traveled, and known a lot of
people, and then in retrospect,now, you see, some of those
people have dropped off theplanet. And so yeah, it's a
strange process.
Steph (20:49):
Yeah, I find it interesting because there's...
it's not just, you know, apicture book of work. It's the
way that the journey weaves in,and you know, the turns and
yeah, which I think is animportant distinction to make.
It's not just a coffee tablebook. It's this really polished
(21:11):
thing.
Helen (21:11):
Yeah, it was pretty amazing to because Ross Walfe,
who's great at asking questions,and just probing a little bit
more and that. Yeah, he was veryhelpful at unleashing
Steph (21:32):
Teasing things out?
Helen (21:33):
Yeah, teasing things out. Yeah.
That's nice, though. Andaffirming, that's a great word
for and I'm glad that that's howit feels as well. And then, as
well as this, in keeping withtradition, as the recipient of
the South Australian LivingArtist Publication Opportunity,
(21:55):
you were then also the featureartist for the 2023 SALA
Festival. And there was apicture of your work on the
official program, which we'vegot right here, and the posters.
I was wondering if you couldgive a bit of backstory to that
work, because it was seen by,you know, people around the
(22:17):
state and I'd love to hear aboutit in your words.
Well, I tell you what, it wasstrange seeing the image on the
cover, and also seeing theposter... everywhere. And it was
sort of like, that's my work,but how did it get there? You
(22:37):
know, like, nailed to a tree, orstuck in a cafe. But the piece
of work itself was one of fivepieces that were acquired by the
Art Gallery of South Australiafrom the previous year. I was
(22:58):
the artist exhibiting at SamstagMuseum. And Khai Liew was also
involved in doing the galleryinstallation. And anyway, five
of these pots were acquired, andso exhibited during the SALA
(23:24):
time. And those five pots have aheavy link to flora, Australian
flora, like seed pods andthings. I actually haven't got
that pod anymore, because after,I had a bit of a tidy up, and I
decided I'll get rid of all thisstuff.
(23:47):
And then someone like me comesand asks!
And probably that pod is now inthe garden out there.
well what pod was it that thatone was based on?
Well it would have been agumnut, a eucalyptus.
Steph (24:04):
oh!
Helen (24:05):
Yeah. Because then that's the outer form,
Steph (24:10):
and then you would have had the little bits coming out
the top, i can see it! Oh that'sso brilliant, because I have to
have been staring at it for Ilong time, and hadn't made the
connection. So that's lovely.Yeah, I can almost see the
little blossoms coming out thetop.
Helen (24:25):
Yeah. And I think I have a lot of them, like this was an
old one
Steph (24:33):
Oh, yeah. That's lovely. For some reason that's nostalgic
for me as well. I don't knowwhy.
Helen (24:39):
Yeah. I think like when I was a kid too, you would collect
eucalyptus pods and make pipesout of them or whatever
Steph (24:48):
Yeah they kind of are a crafty thing.
Helen (24:50):
Yeah, um, not the Jacaranda pod... making Robin
Redbreasts out of the... I can'tremember
Steph (25:03):
we'll have to have a whole litany of seed pods in the
show notes.
Helen (25:08):
Yeah, you'd put cotton wool in, and paint it, or get
some of mum's rouge and blush itso that it's a Robin Redbreast.
Steph (25:18):
brilliant, you'll have to tell me about that because I
can't quite picture it.
Helen (25:22):
were they currajongs? I didn't know that they had
horrible prickly little seeds inthem if you didn't you've got
Steph (25:30):
the best I've done is make a Christmas tree out of a
pine cone in reception but so Ido understand something about
that really lovely texture fordark bark which is echoed in the
that work as well which isreally lovely.
Helen (25:42):
Yeah, it probably goes back to you know again, not not
having money to go and buy artmaterials but you just collect.
In fact my grandmother used tomake seed pictures. She'd get a
bag of mixed parrot seed.
Steph (25:58):
oh yes, yeah
Helen (26:00):
do her drawing, and then separate all the seeds into
their own category and then gluethem all down. And I thought she
was so clever, and did the samewith bark paintings - it wasn't
but painting as Indigenous, butcutting the bark
Steph (26:18):
kind of collage and mosaic?
Helen (26:20):
making little houses and trees and yeah, I suppose they
were the things that you watchedvery carefully as a kid
Steph (26:30):
watching her doing that?
Helen (26:31):
yeah, wishing you could do it. So probably some of that
stuff feeds in as well.
Unknown (26:59):
[music]
Steph (27:00):
Let's talk about the exhibition shedding which at the
time of our chat is currentlyopen at Adelaide Central Gallery
within this sort of AdelaideCentral School of Art, at... the
name of the suburb has escapedme... in the Glenside campus,
hope I got that right
Helen (27:19):
Fruville? isn't it? They call it Fruville, that area
Steph (27:22):
probably, My head's in gumnuts and seeds now.
Helen (27:25):
Oh, well it was the asylum. - where dad threatened
house me from time to time in mygrowing up.
Steph (27:35):
Oh how funny. So yeah, I've just popped into the show
yesterday so it's still kind offresh in my mind, but I haven't
yet soaked in Alison Smiles'lovely essay to accompany the
show. But it's jam packed. Andyeah, I think I went in there
with no expectations and it waslike really delighted. It felt
(27:58):
quite... I don't know, familiar?and I really liked it but I
can't articulate why. But pleasetell me, or tell everyone
listening about that show.
Helen (28:10):
Well, that show came as an extension of the SALA thing.
Mainly because Andrew Purvis,the curator there, he's a
wonderful guy, he had a somehiccup in his exhibition
program. And he came to me tosee -having known a little bit
(28:35):
about me and my excessive flowfrom time to time- would I be
interested in filling in thistime spot. And at the same time
QUT Art Museum in Brisbane had asimilar hiccup. So I was kind
of, well, next week, that onewill open in Brisbane. So a
(28:59):
truck took 20 boxes up toBrisbane and Andrew took...
Steph (29:05):
So this is the bare version of the studio?
Helen (29:08):
Yeah, and in actual fact, I don't know how it's all gonna
fit in again.
Steph (29:13):
Yes, once you've taken it all out, how do you fit it back
in again.
Helen (29:17):
Maybe we'll have to have a silent auction. But yeah, so
yeah, Andrew had the idea, orideas, about using things around
in my studio to try and recreatean aspect of it. I guess in a
(29:37):
way it's sort of didactic forbeing a art school gallery that
students also maybe seesomething there that could
motivate them in their own work.And I know that William
Robinson, a friend and painterin Brisbane, he used to always
(30:01):
say to students, 'you don't haveto leave your front gate to find
your imagery'.
Steph (30:05):
that's great isn't it
Helen (30:07):
Yeah, and I suppose a lot of the work that is in that
show. Well, it is my work, andit is about probably my
childhood, aspects of being awoman...
And a sense of things that wereproximal to you?
Yeah, so it's an honor for meto, even the way Andrew
(30:30):
interpreted and understood, itsort of also... it feels like
the book again, as well. Italmost illustrates what the book
has too about it.
Steph (30:44):
Yeah, that's great that there's that continuity and
that... he got it.
Helen (30:49):
Yeah
Steph (30:49):
I think he always does get it.
Helen (30:51):
Yeah, I know, he's got a good eye
Steph (30:52):
got a knack, and very attuned
Helen (30:58):
So yes. And I think it was interesting, because he came
here a few times in that mode offinding things. And I guess it
stimulated me too, to get inbehind into the dark corners and
retrieve more artwork. Yeah. Andthen that to you, I could, I can
(31:23):
see, you know, like 1986, whatwas happening in my head at the
time, and there was a lot ofcrockery and imagery. And I
think every time, I moved a lot,when I went from, when I left
Adelaide, that was about '79,came back in '91, I was moving
(31:44):
all the time, because I wasrenting houses, of course, so
you discard what you had. Andthen when you went into another
house, or share house, you'd endup going to the shop, and buying
more cups, and so, or whatever,
Steph (32:00):
and repeat
Helen (32:01):
and repeat. So yeah, and then some of those objects, at
that time, I was makingphotographs as well. So they
became, you know, on a lonelySaturday afternoon, you'd find
yourself with your camera, justbecause the light or something
was fantastic. And so you justsort of...
Steph (32:23):
tinker
Helen (32:24):
tinker, yeah, a lot of tinkering.
Steph (32:26):
Yeah, I think that's a great word for the context of
the shed, and that kind ofspace, and the freedom to, you
know, no pressure just tinker.
Helen (32:42):
Well, dad, in that exhibition, and in the book
maybe, that reference back to myfather's shed, which I used.
After my master's degree, it wastime for the family to clear the
(33:03):
shed, and which was extensive.And as I suppose that clearing
the shed took on a major thingfor me. And also, the shed was a
place of male territory, likedad's shed. And I had two
brothers and a sister, thebrothers were allowed access. I
(33:27):
was supposed to be in the house,doing domestic stuff, which
involved fighting with mum andrefusing to make my bed. And so
the shed, to me, was much moreexciting. And I guess I used to
go down there when Dad wasn'thome, find the key and get down
there and turn the lathe on and
Steph (33:49):
oh, wow. Get into the tools. Yeah.
Helen (33:54):
And then you'd get into trouble. And also he was you
know, a bit of a... I don'tknow. But anyway, the fact that
he wouldn't let me go to artschool, there was this
incredible disappointment withhim as a father because I had my
whole hopes hanging on that Icould go, and I was accepted by
(34:16):
the art school. Back then thenyou had to do a ...
Steph (34:19):
like a portfolio or something?
Helen (34:22):
Yeah, no, they set up a still life and everyone, you had
to draw for so many hours. Well,I didn't get the scholarship.
Only one person got thescholarship and that was Trevor
Nichols, who probably you know,was an Indigenous artist. And
(34:42):
anyway, so dad said I wasn'tgood enough, that proved I
wasn't good enough. And my momsaid, in her day of dying to my
ex partner, husband at the time,that her biggest regret was she
didn't stand up for me and makethat happen
Steph (35:00):
and to get you there to art school?
Helen (35:01):
yeah, because I think, Yeah, I think if maybe if I got
there, I would have just gone.No, I would have been a happy
little painter or something.Because it was around that time
where people like, oh, bit laterbut Barbara Hanrahan people like
that, they'd all take the boatto England and go to art school
and it all seems super exciting.But the boat went without me.
Steph (35:32):
Yeah, no, I liked the sort of duality of the shed as a
place but you know, shedding asa metaphor for something else as
well. And, and again, I guesswe've come back to processing
and facing things and yeah,
Helen (35:46):
Yeah, there is a lot of shedding in it. Even, like I'm
sitting here I can see a buttonjar in a big Vegemite jar. Those
buttons were my grandmother's.You know how you... they would
have all been... some of them,oh well you can see they've
been cut off of garment.Recycling and yeah, yeah. And
(36:08):
there's jars of funny thingsaround.
Steph (36:11):
So we could sit here all day and tease out the story.
Helen (36:17):
Anyway, that's sort of how it all happens.
Steph (36:19):
Yeah, lovely.
Unknown (36:30):
[music]
Steph (36:43):
Now, this is a favorite question of mine to ask, so
please indulge me. Do you have afavorite memory of someone
either experiencing orinteracting with your work from
any point in your whole career?
Helen (36:57):
Well, if I...
Steph (37:00):
If you had to pick one?
Helen (37:02):
Well, there's one small one, and that was
Kindergarten, I was painting apicture. It was Christmas time,
and I had, standing at a littleeasel with paint, and I did a
great big Father Christmas, hewas profile. And he looked
pretty good, he had a red capon, the whole lot. And I was
(37:25):
really proud, and the kindyteacher was adding the praise.
And then while I was listeningto her, I sort of had a moment,
and then I went back because I'djust blobbed his eye, I'd given
him a big blue eyeball. And inthat time, when I turned around
(37:47):
the eyeball had dribbled rightto the bottom of the page. And I
remember that sheer horror ofmessing it up, but at the same
time, the fascination ofactually watching what happened.
And that, so it was a win-win ina way, oh well not... one was
pain, one was winning. But thatfor me...
Steph (38:11):
I love that that stood out
Helen (38:12):
because I still do dribbles and drips in my work.
But
Steph (38:17):
but at such a young age. Yeah, to go 'Oh, actually, it's
okay.'
Helen (38:21):
Yeah, it was just how gravity and the weight of the
water took it. And the onlyother memory to probably is when
I had an installation at the ArtGallery of South Australia, and
it was called A Cow of A Thing,which was an extension of dad's
(38:44):
shed business, but I had a bigkitchen table and all things
happening. And people came inand they didn't see it as an
artwork, they just put theirbags on it and started ratting
through things, and occasionallythe guard had to say 'this is an
artwork'. And I suppose it wasthey're like 'an artwork?', you
(39:05):
know, like it, because it was sofamiliar that it didn't command
respect. And I think I rememberthinking that was pretty amazing
as well. Because it was like,'excuse me, do you mind' and
then it was, 'of course', youknow, that's what we use the
table at home for, it wasn't anartwork, it was just a thing
(39:26):
where you dumped stuff.
Steph (39:30):
I was glad you thought that, weren't offended or, you
know, it wasn't an issue, but itwas just a curious thing.
Helen (39:37):
Yeah.
Steph (39:41):
That's great. Yeah, just those little things. Oh, look,
thank you so much for indulgingmy questions and, you know,
harking back to different times.Thank you so much, Helen.
Helen (39:55):
Thank you.
Unknown (41:35):
[music]
[music]
Steph (00:18):
Hello, and welcome to the SALA podcast. My name is Steph
and today I have the pleasure ofcatching up with Adelaide born
artist Helen Fuller in her homestudio in the suburbs of
Adelaide. Thank you for turningthe air con - it's a lovely warm
day, and it's beautiful andquiet. We've had to come through
the trees to get here, and it'sit's very special to be here. I
(00:42):
will acknowledge that we aremeeting on the traditional lands
of the Kaurna People and payrespect to Elders past, present
and emerging. Helen, thank youfor inviting me in and making
time to chat today.
Helen (00:57):
Thank you.
Steph (00:59):
I must confess, we have the same last name. And I went
through a rabbit hole of tryingto figure out if we were related
last night, and I didn't findanything. Okay, you're lucky.
But I can thank you because Iinadvertently found a few more
rungs on the family tree. Sothanks for that.
And coming back to what we'rehere for the interview, I better
(01:21):
just acknowledge also that I'mnot even going to attempt to
cover as much ground in thischat as there is in the book
about you that's just come out.We can definitely talk about
that later. But let's let's keepit simple and start with how did
you find your way to becoming anartist?
Helen (01:39):
Um, well, it was a long way, a long pathway. Well, if I
think back just to earlychildhood really just playing
around and drawing and fiddling,that somehow or other, when I
(02:00):
went to school, I really enjoyedart classes. They were very just
using horrible old greasy waxcrayons, and butchers paper. But
that was the material medium atthe time. But I knew that every
week, I'd just look forward tothe art lesson where you could
just relax and be who you wantedto be. So I could only see it as
(02:26):
a pathway from stepping along.But in my family household there
wasn't any art practice. Dad wasan engineer, so he did have
graph paper and very... what wasit... double H lead pencils with
very sharp points and rulers andthings
Steph (02:48):
so good tools?
Helen (02:49):
Yeah. Yeah. And I guess he taught you to draw freehand
straight lines, and sharparrows.
Steph (02:59):
mm, I bet!
Helen (02:59):
But yeah, not. You know, like you see lucky kids now that
are just gung-ho into a pile ofpaint; parents indulging, going
to the art shop and coming backwith the best. No. It was all
minimal. But when it came toschool, primary school,
(03:23):
particularly the chalkboarddrawings, that I was always the
one that got invited to draw theholly or the Easter rabbit or
whatever, because obviously myskill base was recognized in the
classroom, but not at home.
Steph (03:43):
Well, maybe Yeah, that does sound like you were given
the job of artist, as early asthen. So yeah, that's great. Now
you've worked across -we haven'tquite touched on them yet- but
you've worked across variousmedia and materials. Two
dimensional work, threedimensional work... when someone
in the present day asks you whatmedium you work in, is there a
(04:05):
simple answer?
Helen (04:06):
No. No simple answer, but probably more relevant in the
last, I think about 12 years, 14years, I've I have been making
ceramic pots, "useless pots",basically forming the, you know,
vessel form called pots and Ijust hand build, and I find it
(04:30):
easier to go and make anotherpot than to go and do a work on
paper or painting. It's justprobably the immediacy of
putting the hands into the clay.And you just get started
straightaway... whereas yeah...it's not as hard on your head.
Steph (04:49):
No it's more tactile and yeah, fantastic. Do you consider
yourself as someone who has, youknow, maybe moved through
different favored mediums atdifferent times, or is it more
that you've just collected thesedifferent languages to sort of
have at your disposal?
Helen (05:07):
I suppose maybe in my weird history of getting to art
school, it was. I, I wanted togo to art school full time.
I've, I didn't do well enough atschool. And my father therefore,
prevented me from going and so Ijust had to go leave school and
(05:29):
get a job. One of them as aclerk in an insurance company,
like really, just jobs. And theneventually, I did get to art
school, only part time, but inthe I studied to be a secondary
art teacher. So when you didthat, the art school time was
(05:49):
all split up into many differentsubjects from life drawing,
drawing, tech drawing, painting,textile, printmaking. So I
suppose the fact that I reallyliked art as a kid, I think I
just probably did reasonablywell in all areas, but then you
(06:14):
you didn't follow things foryourself, they were prescribed
subjects to achieve a goal andhand in work. I guess I always
did okay. But ya know, maybethat just made you diverse in
your skill base. And I suppose,within my family, there were
(06:40):
people that were into craft likewoodwork and mum sewing and I
guess that came into it, whereif you're going to do something,
you had to do it properly. Soyou skill ups. Yeah. Back of the
sewing had to be as good as thefront of it. So yeah, I do have
(07:01):
those, and I suppose when I havebeen making things, you just
sort of free range through whatskill you need to make something
happen. Yeah, yeah. Don't knowhow you say it really.
Steph (07:17):
So they're not, you know, super distinct different modes
per se. It's more just ahappening.
Helen (07:22):
Yeah. And it's sort of sometimes I think of myself as a
'Jack of all trades, master ofnone'.
[music]
Steph (07:34):
Now can I ask -I don't know if this is going to be an
easy or a hard question- butwhat themes are you exploring in
your work?
Helen (07:42):
Well, I think a lot of my work has been probably
autobiographical and probablyreplaying aspects of my
childhood experiences. My fathergoing to the rubbish tip, with a
trailer full of junk, trailerfull of junk coming home from
(08:06):
tip. 'cause Dad always hadprojects. And so we were all
involved as scavengers to gleanthe tip. And I think that part I
think I've always been prettyinterested in recycling as you
know, a proper way of looking atit but in actual fact it's just
(08:27):
just loving rubbish and playingwith it and probably because it
had been discarded there's nouse for it. But within your
creative self, you see all thesepotentials and tinker away and
you don't have to have money togo to the shop to buy these
materials. Generously donate itback into the tip, so yes, I
(08:54):
think that fascination forold...
Steph (09:02):
Do you think there was a preciousness for the object from
from some of that? Or was itmore about the vehicle for other
things?
Helen (09:10):
A bit of both really, isn't it. Because, I mean, I
still if I'm walking and you seesomething that had broken
crockery or whatever, I willpick it up. Or seeds, or leaves,
or whatever. It's something Idid when I was young, and I'm
(09:31):
not young now, but I can stilljust bend over and reach without
going into it. But um, yeah, Ithink because if you look around
here, there's all scavenged bitsand pieces. I have a dog and the
(09:52):
dog walking... This is a reducedthing here but a lot of bark
coming off of trees a whilewhile ago, and there were kind
of stunning curling pieces. Andso some of that bark too, I use
to texture into the pots as welllike printing, form printing
(10:16):
with leaves and things. Banksia.
Steph (10:20):
Oh, yeah, look at that, such a spiky branch.
Helen (10:25):
Which, that all links into the pottery that I have
been making as well, whichprobably informed by looking at
seedpods.
Steph (10:37):
Actually, now that I'm looking around here, this dried
bits of nature and all in sortof pockets of the room.
Helen (10:44):
Yeah. That paper form, which was from a earlier
exhibition from years ago thatwas about wallflowers, and
pattern cut to the style thatmum would have made as a dress
for me when I was a kid. Andhanging it upside down it
(11:07):
becomes vessel-like, rather thanfrock-like. Yeah. And there was
that thing to that Methodistupbringing that you didn't have
a lovely full skirt of fabricthat you could twirl. It was
just as functional, try and getsomething to cover your body as
(11:28):
cheap possible without showingand revealing.
Steph (11:32):
Yep, no surplus fabric.
Helen (11:34):
no.
Steph (11:36):
Yeah, what a great connection. And what do you
think it is that really drivesyou to explore those kinds of
things and keep returning tothem,
Helen (11:51):
I think came probably more after I had my son, well
post his birth I ended up comingback to Adelaide from Brisbane
and I did my master's degree atUniSA down at Underdale. And I
think my body had changed shapeeverything. In fact, my whole
(12:13):
life has changed. And I thinkcoming home, my father had died
the day Alex was born. Andcoming home for many reasons. I
think confronted with the familyagain, because when I lived in
(12:33):
Brisbane, I was up there totallyby myself, there was no family
connection whatsoever. So yousort of created your own weird
self. But coming back, suddenly,you're hit with coming back into
the family after having beenabsent, as a mother. And I
(12:55):
suppose as a mother, you startedwondering more about your
grassroots and influences. And Isuppose that body changing
shape, a lot of the work had todo with clothing. Clothing I
couldn't fit into any more, butalso clothing and dressing Alex
as a baby. Sometimes you'd likewith the opening to put his head
(13:19):
through the arms. Sometimes anightmare. Struggling with that.
So yeah. I started makingsculptures then with like, yeah,
with clothing, stretching,clothing over forms that are a
bit kite-like as well. But Ithink that self thing, apart
(13:43):
from the material self there wasthe psychological.
Steph (13:46):
Yeah. And those changed dynamics.
Helen (13:48):
Yeah and probably depression, became a reality to
that, um, I can say it, I'vebeen medicated for it. But
maybe finding my way throughthat and resolving issues,
exploring.
Steph (14:08):
Yeah. Working through it.
Helen (14:10):
Yeah. Sort of going in to the inside world, rather than
the external.
Steph (14:15):
Yes. Facing it all.
Helen (14:18):
Anyway.
Steph (14:19):
that's great. I think that's what it's all about,
whereall the greatest work comesfrom
Helen (14:24):
depression? [laughs]
Steph (14:25):
Well, the difficult things and facing it head on.
But maybe in a short word,perhaps.
Helen (14:33):
Yeah, well it's therapeutic, and I think that's
even where at the time when Istarted working with clay I had
just finished an exhibition ofpaintings. And they were
becoming rather very fine linesbecause I suppose the painting I
started going into the surface,or the canvas or the weave of
(14:57):
the ... and it got really... Ithink it just got too
Steph (15:05):
too sort of fine?
Helen (15:06):
yeah, something had to...give
Steph (15:08):
Something had to give
Helen (15:09):
Yeah. And I suppose that's where I was friends with
Stephanie Radok and she used togo to a hobby class at Hubby
Court where every kid went totheir art class. So that's when
this was the inspiring pamphletfor Hubby Court
Steph (15:29):
oh lovely.
Helen (15:31):
So that was pottery and sculpture classes at Hubby
Court, and that was where Ifirst touched the clay really.
Steph (15:41):
Wow yeah.
Helen (15:42):
Yeah. So I find that, yeah...
Steph (15:45):
yeah, no it sounds like that's a sort of recurring thing
of 'nope, something's got toshift or sidestep, or, you know,
and there's a new path and newwork. That's awesome.
Helen (15:57):
When I was doing the paintings, I was listening a lot
to -well I still do- ABCclassical. And yeah, it was sort
of like doing these largepaintings with a double O brush,
so really, really fine. And itwas sort of like thinking oh,
(16:22):
classical music like aviolinists take this one stroke
with their [bow] and thinking ohyeah.
Steph (16:29):
the gesture
Helen (16:30):
It was all this strange thinking that I got into,
whereas now rolling sausages tothe handbuild coil pots, or
pinch pots. It still that samestrangeness, but it's multiple
actions, you know, thatrepetition. It whether you're
(16:50):
pressing out a form with yourthumb or rolling a sausage in
coiling.
Steph (16:57):
It's nice how that gesture crosses the material
though, you know from paintinginto the clay, that's still how
you're approaching it.
Helen (17:08):
Yeah well it's still that linear thing.
Unknown (17:11):
[music]
Steph (17:16):
Well, we've both got the lovely book, on our laps and
referring to it, so we, weshould probably talk about it.
So this has just come out. Andit's the outcome of the South
Australian Living ArtistPublication, which is an
opportunity supported by theSouth Australian government
through Arts SA to produce ahigh quality book celebrating
(17:39):
the work of a South Australianartist. And I feel like I'm
watering it down by calling it abook because it's a big
undertaking, you know, there'san application, that then get
selected. And then there's inputfrom so many people: yourself,
the writers Ross Wolfe, SashaGrbich, and Glenn Barkley, Erica
Green of Samstag Museum of Artin UTSA, Melinda Rackham, all
(18:01):
the photographer's images, thedesign, all coming together into
this pretty hefty hardcover bookthat's published here in SA by
Wakefield Press. How do you feelnow that it's out in the world?
Because it's, it's a lot andit's all about you, and, oh,
yeah, I don't know what that'slike.
Helen (18:21):
Well, it's kind of like an affirmation that you do exist
-or did exist. When it wastalked about as being South
Australian living artist Ithought 'I could be the first
dead one'. [both laugh] Butanyway, I managed to survive,
and I'm still here. But yeah,it's interesting, and it was
(18:43):
very clever, it's a handsomelooking book, thanks to everyone
that contributed to making it.But also, I see it, on a
personal level, it's a bit likea diary. And I feel like I own
it, because it is my work. Butit also... my work has gone on
(19:04):
many pathways, tangents, andwhatever, but somehow or rather
being glued in to pages, and,that are bound, and you can flip
through it, I can see. I mean,it brings it together.
Otherwise, it's a prettyscattered life.
[both laugh] It's amazing whenyou can see it through someone
(19:28):
else's perspective, isn't it?Those connections and chaos
becomes a bit more...
Yeah, I know. And when MelindaRackham was in the first phase
of going through my archivalclutter, mess, whatever with
great patience. Yeah, there weremoments where some of it was
(19:51):
almost painful as well becauseit was fit like exhuming the
dead
Steph (20:01):
what a word!
Helen (20:03):
But at the same time, there were, I don't know, just,
Steph (20:07):
yeah, that would be a process
Helen (20:09):
because you're sort of looking at, probably 50 years.
And it feels to me like onlyyesterday I was painting a tree
or something, but at the sametime, I haven't painted a tree
for 50 years or something. And Iguess it's a pathway of having
(20:31):
had many life experiences,traveled, and known a lot of
people, and then in retrospect,now, you see, some of those
people have dropped off theplanet. And so yeah, it's a
strange process.
Steph (20:49):
Yeah, I find it interesting because there's...
it's not just, you know, apicture book of work. It's the
way that the journey weaves in,and you know, the turns and
yeah, which I think is animportant distinction to make.
It's not just a coffee tablebook. It's this really polished
(21:11):
thing.
Helen (21:11):
Yeah, it was pretty amazing to because Ross Walfe,
who's great at asking questions,and just probing a little bit
more and that. Yeah, he was veryhelpful at unleashing
Steph (21:32):
Teasing things out?
Helen (21:33):
Yeah, teasing things out. Yeah.
That's nice, though. Andaffirming, that's a great word
for and I'm glad that that's howit feels as well. And then, as
well as this, in keeping withtradition, as the recipient of
the South Australian LivingArtist Publication Opportunity,
(21:55):
you were then also the featureartist for the 2023 SALA
Festival. And there was apicture of your work on the
official program, which we'vegot right here, and the posters.
I was wondering if you couldgive a bit of backstory to that
work, because it was seen by,you know, people around the
(22:17):
state and I'd love to hear aboutit in your words.
Well, I tell you what, it wasstrange seeing the image on the
cover, and also seeing theposter... everywhere. And it was
sort of like, that's my work,but how did it get there? You
(22:37):
know, like, nailed to a tree, orstuck in a cafe. But the piece
of work itself was one of fivepieces that were acquired by the
Art Gallery of South Australiafrom the previous year. I was
(22:58):
the artist exhibiting at SamstagMuseum. And Khai Liew was also
involved in doing the galleryinstallation. And anyway, five
of these pots were acquired, andso exhibited during the SALA
(23:24):
time. And those five pots have aheavy link to flora, Australian
flora, like seed pods andthings. I actually haven't got
that pod anymore, because after,I had a bit of a tidy up, and I
decided I'll get rid of all thisstuff.
(23:47):
And then someone like me comesand asks!
And probably that pod is now inthe garden out there.
well what pod was it that thatone was based on?
Well it would have been agumnut, a eucalyptus.
Steph (24:04):
oh!
Helen (24:05):
Yeah. Because then that's the outer form,
Steph (24:10):
and then you would have had the little bits coming out
the top, i can see it! Oh that'sso brilliant, because I have to
have been staring at it for Ilong time, and hadn't made the
connection. So that's lovely.Yeah, I can almost see the
little blossoms coming out thetop.
Helen (24:25):
Yeah. And I think I have a lot of them, like this was an
old one
Steph (24:33):
Oh, yeah. That's lovely. For some reason that's nostalgic
for me as well. I don't knowwhy.
Helen (24:39):
Yeah. I think like when I was a kid too, you would collect
eucalyptus pods and make pipesout of them or whatever
Steph (24:48):
Yeah they kind of are a crafty thing.
Helen (24:50):
Yeah, um, not the Jacaranda pod... making Robin
Redbreasts out of the... I can'tremember
Steph (25:03):
we'll have to have a whole litany of seed pods in the
show notes.
Helen (25:08):
Yeah, you'd put cotton wool in, and paint it, or get
some of mum's rouge and blush itso that it's a Robin Redbreast.
Steph (25:18):
brilliant, you'll have to tell me about that because I
can't quite picture it.
Helen (25:22):
were they currajongs? I didn't know that they had
horrible prickly little seeds inthem if you didn't you've got
Steph (25:30):
the best I've done is make a Christmas tree out of a
pine cone in reception but so Ido understand something about
that really lovely texture fordark bark which is echoed in the
that work as well which isreally lovely.
Helen (25:42):
Yeah, it probably goes back to you know again, not not
having money to go and buy artmaterials but you just collect.
In fact my grandmother used tomake seed pictures. She'd get a
bag of mixed parrot seed.
Steph (25:58):
oh yes, yeah
Helen (26:00):
do her drawing, and then separate all the seeds into
their own category and then gluethem all down. And I thought she
was so clever, and did the samewith bark paintings - it wasn't
but painting as Indigenous, butcutting the bark
Steph (26:18):
kind of collage and mosaic?
Helen (26:20):
making little houses and trees and yeah, I suppose they
were the things that you watchedvery carefully as a kid
Steph (26:30):
watching her doing that?
Helen (26:31):
yeah, wishing you could do it. So probably some of that
stuff feeds in as well.
Unknown (26:59):
[music]
Steph (27:00):
Let's talk about the exhibition shedding which at the
time of our chat is currentlyopen at Adelaide Central Gallery
within this sort of AdelaideCentral School of Art, at... the
name of the suburb has escapedme... in the Glenside campus,
hope I got that right
Helen (27:19):
Fruville? isn't it? They call it Fruville, that area
Steph (27:22):
probably, My head's in gumnuts and seeds now.
Helen (27:25):
Oh, well it was the asylum. - where dad threatened
house me from time to time in mygrowing up.
Steph (27:35):
Oh how funny. So yeah, I've just popped into the show
yesterday so it's still kind offresh in my mind, but I haven't
yet soaked in Alison Smiles'lovely essay to accompany the
show. But it's jam packed. Andyeah, I think I went in there
with no expectations and it waslike really delighted. It felt
(27:58):
quite... I don't know, familiar?and I really liked it but I
can't articulate why. But pleasetell me, or tell everyone
listening about that show.
Helen (28:10):
Well, that show came as an extension of the SALA thing.
Mainly because Andrew Purvis,the curator there, he's a
wonderful guy, he had a somehiccup in his exhibition
program. And he came to me tosee -having known a little bit
(28:35):
about me and my excessive flowfrom time to time- would I be
interested in filling in thistime spot. And at the same time
QUT Art Museum in Brisbane had asimilar hiccup. So I was kind
of, well, next week, that onewill open in Brisbane. So a
(28:59):
truck took 20 boxes up toBrisbane and Andrew took...
Steph (29:05):
So this is the bare version of the studio?
Helen (29:08):
Yeah, and in actual fact, I don't know how it's all gonna
fit in again.
Steph (29:13):
Yes, once you've taken it all out, how do you fit it back
in again.
Helen (29:17):
Maybe we'll have to have a silent auction. But yeah, so
yeah, Andrew had the idea, orideas, about using things around
in my studio to try and recreatean aspect of it. I guess in a
(29:37):
way it's sort of didactic forbeing a art school gallery that
students also maybe seesomething there that could
motivate them in their own work.And I know that William
Robinson, a friend and painterin Brisbane, he used to always
(30:01):
say to students, 'you don't haveto leave your front gate to find
your imagery'.
Steph (30:05):
that's great isn't it
Helen (30:07):
Yeah, and I suppose a lot of the work that is in that
show. Well, it is my work, andit is about probably my
childhood, aspects of being awoman...
And a sense of things that wereproximal to you?
Yeah, so it's an honor for meto, even the way Andrew
(30:30):
interpreted and understood, itsort of also... it feels like
the book again, as well. Italmost illustrates what the book
has too about it.
Steph (30:44):
Yeah, that's great that there's that continuity and
that... he got it.
Helen (30:49):
Yeah
Steph (30:49):
I think he always does get it.
Helen (30:51):
Yeah, I know, he's got a good eye
Steph (30:52):
got a knack, and very attuned
Helen (30:58):
So yes. And I think it was interesting, because he came
here a few times in that mode offinding things. And I guess it
stimulated me too, to get inbehind into the dark corners and
retrieve more artwork. Yeah. Andthen that to you, I could, I can
(31:23):
see, you know, like 1986, whatwas happening in my head at the
time, and there was a lot ofcrockery and imagery. And I
think every time, I moved a lot,when I went from, when I left
Adelaide, that was about '79,came back in '91, I was moving
(31:44):
all the time, because I wasrenting houses, of course, so
you discard what you had. Andthen when you went into another
house, or share house, you'd endup going to the shop, and buying
more cups, and so, or whatever,
Steph (32:00):
and repeat
Helen (32:01):
and repeat. So yeah, and then some of those objects, at
that time, I was makingphotographs as well. So they
became, you know, on a lonelySaturday afternoon, you'd find
yourself with your camera, justbecause the light or something
was fantastic. And so you justsort of...
Steph (32:23):
tinker
Helen (32:24):
tinker, yeah, a lot of tinkering.
Steph (32:26):
Yeah, I think that's a great word for the context of
the shed, and that kind ofspace, and the freedom to, you
know, no pressure just tinker.
Helen (32:42):
Well, dad, in that exhibition, and in the book
maybe, that reference back to myfather's shed, which I used.
After my master's degree, it wastime for the family to clear the
(33:03):
shed, and which was extensive.And as I suppose that clearing
the shed took on a major thingfor me. And also, the shed was a
place of male territory, likedad's shed. And I had two
brothers and a sister, thebrothers were allowed access. I
(33:27):
was supposed to be in the house,doing domestic stuff, which
involved fighting with mum andrefusing to make my bed. And so
the shed, to me, was much moreexciting. And I guess I used to
go down there when Dad wasn'thome, find the key and get down
there and turn the lathe on and
Steph (33:49):
oh, wow. Get into the tools. Yeah.
Helen (33:54):
And then you'd get into trouble. And also he was you
know, a bit of a... I don'tknow. But anyway, the fact that
he wouldn't let me go to artschool, there was this
incredible disappointment withhim as a father because I had my
whole hopes hanging on that Icould go, and I was accepted by
(34:16):
the art school. Back then thenyou had to do a ...
Steph (34:19):
like a portfolio or something?
Helen (34:22):
Yeah, no, they set up a still life and everyone, you had
to draw for so many hours. Well,I didn't get the scholarship.
Only one person got thescholarship and that was Trevor
Nichols, who probably you know,was an Indigenous artist. And
(34:42):
anyway, so dad said I wasn'tgood enough, that proved I
wasn't good enough. And my momsaid, in her day of dying to my
ex partner, husband at the time,that her biggest regret was she
didn't stand up for me and makethat happen
Steph (35:00):
and to get you there to art school?
Helen (35:01):
yeah, because I think, Yeah, I think if maybe if I got
there, I would have just gone.No, I would have been a happy
little painter or something.Because it was around that time
where people like, oh, bit laterbut Barbara Hanrahan people like
that, they'd all take the boatto England and go to art school
and it all seems super exciting.But the boat went without me.
Steph (35:32):
Yeah, no, I liked the sort of duality of the shed as a
place but you know, shedding asa metaphor for something else as
well. And, and again, I guesswe've come back to processing
and facing things and yeah,
Helen (35:46):
Yeah, there is a lot of shedding in it. Even, like I'm
sitting here I can see a buttonjar in a big Vegemite jar. Those
buttons were my grandmother's.You know how you... they would
have all been... some of them,oh well you can see they've
been cut off of garment.Recycling and yeah, yeah. And
(36:08):
there's jars of funny thingsaround.
Steph (36:11):
So we could sit here all day and tease out the story.
Helen (36:17):
Anyway, that's sort of how it all happens.
Steph (36:19):
Yeah, lovely.
Unknown (36:30):
[music]
Steph (36:43):
Now, this is a favorite question of mine to ask, so
please indulge me. Do you have afavorite memory of someone
either experiencing orinteracting with your work from
any point in your whole career?
Helen (36:57):
Well, if I...
Steph (37:00):
If you had to pick one?
Helen (37:02):
Well, there's one small one, and that was
Kindergarten, I was painting apicture. It was Christmas time,
and I had, standing at a littleeasel with paint, and I did a
great big Father Christmas, hewas profile. And he looked
pretty good, he had a red capon, the whole lot. And I was
(37:25):
really proud, and the kindyteacher was adding the praise.
And then while I was listeningto her, I sort of had a moment,
and then I went back because I'djust blobbed his eye, I'd given
him a big blue eyeball. And inthat time, when I turned around
(37:47):
the eyeball had dribbled rightto the bottom of the page. And I
remember that sheer horror ofmessing it up, but at the same
time, the fascination ofactually watching what happened.
And that, so it was a win-win ina way, oh well not... one was
pain, one was winning. But thatfor me...
Steph (38:11):
I love that that stood out
Helen (38:12):
because I still do dribbles and drips in my work.
But
Steph (38:17):
but at such a young age. Yeah, to go 'Oh, actually, it's
okay.'
Helen (38:21):
Yeah, it was just how gravity and the weight of the
water took it. And the onlyother memory to probably is when
I had an installation at the ArtGallery of South Australia, and
it was called A Cow of A Thing,which was an extension of dad's
(38:44):
shed business, but I had a bigkitchen table and all things
happening. And people came inand they didn't see it as an
artwork, they just put theirbags on it and started ratting
through things, and occasionallythe guard had to say 'this is an
artwork'. And I suppose it wasthey're like 'an artwork?', you
(39:05):
know, like it, because it was sofamiliar that it didn't command
respect. And I think I rememberthinking that was pretty amazing
as well. Because it was like,'excuse me, do you mind' and
then it was, 'of course', youknow, that's what we use the
table at home for, it wasn't anartwork, it was just a thing
(39:26):
where you dumped stuff.
Steph (39:30):
I was glad you thought that, weren't offended or, you
know, it wasn't an issue, but itwas just a curious thing.
Helen (39:37):
Yeah.
Steph (39:41):
That's great. Yeah, just those little things. Oh, look,
thank you so much for indulgingmy questions and, you know,
harking back to different times.Thank you so much, Helen.
Helen (39:55):
Thank you.
Unknown (41:35):
[music]
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