An interview
with Trisha Lambi
Hello Trisha and welcome to NotRandomArt. I would start this interview with my usual introductory question: what in your opinion defines a work of art? And moreover, what could be the features that mark the contemporariness of an artwork?
Thank you for having me. I think a work of art is defined by its effect on the viewer and the emotional connection created between them. Art should make an impact, whether that impact is positive or negative is inconsequential :
if it gives the viewer pause even for an instant it has done its job. I also think it’s difficult to list features marking the contemporariness of an artwork : indeed, the fact that it is created now marks it as contemporary. The incredible depth and scale of methodologies used in artwork today characterises its contemporariness – I love that it is becoming difficult to sort art into little boxes trying to define it. Perhaps then, the feature of contemporariness is that the artwork cannot be definitively defined and I like that.
Is there any particular way you would describe your identity as an artist but also as a human being in dynamically changing, unstable times? In particular, does your cultural substratum/identity form your aesthetics.
My identity as a human being and as an artist are intrinsically intertwined and each informs the other. I believe cultural identity cannot help but form one’s aesthetics – for instance the light here in Australia is strong, clear, and hard – noticably different to the soft hazy light of the northern hemisphere – and it creates striking tableaux. Having grown up with this light, it is second nature in my work because it is such an integral part of my life.
Could you talk a little about the intellecual background that has influence the way you currently relate yourself to your artworks?
I was born in a small country town in Australia and was raised on the family farm as part of a large, happy family. In many ways it was an ideal childhood and life was peaceful. My parents were not artistic people – my father was a farmer and my mother had her hands full looking after 8 children. They were intelligent people who loved reading and they passed this love of books on to us. Growing up in the country in a middle class environment I could have become insular and narrow-minded however thanks to my parents, I had the best of both worlds – I lived in a beautiful and tranquil environment yet I could travel into foreign and exciting worlds through the flick of a page. Being the second youngest of a large family I also benefitted from my older siblings’ experiences of the world at large.
After school, I deferred university and worked for a year. I then started a degree in visual arts however I dropped out after only a couple of months and it took me a long time to find my way back to painting. It wasn’t until the birth of my first child that I began to paint in earnest. Those early years of painting were filled with people telling me to paint what sells – advice that was often conflicting and always confusing. It took some time for me to gain enough confidence to paint from my heart - to ignore all that white noise and listen to my inner voice.
Through all these years the farm remained my refuge ; a safe place to come home to. My parents remained there until their recent deaths so the farm has played a large part in my children’s lives as well. The last few years have been traumatic – my father had a long battle with cancer and soon after he died my mother was diagnosed with Motor Neurone Disease. She died eight months after Dad and soon after we had to sell the farm. My work has been my refuge during this heartbreaking time – it takes me away to a less painful place and allows me to process my emotions withoutconsciously realising it.
What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?
Technique is extremely important – it is the mainstay of each work. As I’m self taught, however, I don’t know any rules to be constrained by which really is quite liberating. I’m free to use whichever method I want to achieve the effect I want. Another advantage to being self taught is that my style is all my own - developed from many years of trial and error .
Could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about race and ethnic identity in visual culture?
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