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A. For some years my work has focused on the impermanence of nature and trying to capture moments of the life cycle, as well as what happens to the environment when natural disasters strike.

Life, death, and the human impact on the environment in artwork has been a little daunting at times. Especially as my work, even when painting about something that is dying, can have a ‘beautifulness’ about it. Sadly, like many people, I have become more in tune with the observations and the science behind why these impacts on the environment are happening.

My personal connection started a couple of years ago when I became involved in an investment fund in Queensland called, Koala Farmland Fund. Land is procured for biodiversity offsets. When traditional land is developed for urban projects and trees are lost, this land is then managed by tree planting etc for the protection of koala. Earlier this year I helped plant 2500 trees in Quandamooka Country, in SE Qld. In addition to this I have also been involved in renewable energy projects, specifically with the development of a 100MW solar farm on the Darling Downs that provides power to about 32,000 homes.

So it’s been important to me to not just paint landscape, but to try and tell a deeper story. And although the Anthropocene is only a proposed geological epoch, it certainly resonates with what’s actually happening with the planet vs man age.

Q. Do you think art can impact social change?

A. Yes, and can do so loudly or quietly and for many different areas. I think of Picasso’s Guernica on a political scale, or The Guerilla Girls for gender equality. And for environmental, there are the big names such as Olafur Eliasson, Agnes Denes, Janet Laurence and Fiona Hall. But you don’t have to necessarily make art that is destined for a public space or museum to tell a story. It doesn’t always have to be large or abstract. I hope that my smaller paintings can be bought by anyone for their personal space and still convey a message


Q. The palette for this show is rich with deep and dark colours, what's your favourite colour to work with?

A. That’s a very unfair question to ask an artist. I keep trying to reduce my palette. I chose the reds because of its symbolism to death and anger I guess, plus I used some red oxides in the works to reflect the natural elements of earth.  But if there is one bought colour I can’t do without in my studio and that is a Schmincke ink, Brasil-Brown. I wish they made it in a 1 ltr bottle….but the costs!! OMG.

Q. How do the different processes in this body of work compare? (reworked digital prints, ceramics and paintings) and what is your preferred method of working?

A. Ceramics has definitely been a challenge compared to painting. There is a lot of difference in the way I would push and pull layers on a wooden panel, and seeing the immediate results compared to having patience with the clay and glazes and waiting for the kiln to make some of those decisions for me.

On days where I don’t have as much time to get messy, or I don’t have the energy to paint, I love to work on my computer and produce digital works. Basically it’s a challenge to see what would happen if I gathered all my ingredients, (photos, paintings, marks, natural objects from the environment) and mash them altogether on the screen. Then I print it out and paint on it again. I’d like to work more in video one day too.

Q. What's a typical day in the studio look like for you?

A. Ideally a good day is to walk in with a cup of tea, still often in my PJs and unbrushed hair. I have my little dachshund, Sesame at my side. I work best in the mornings so start around 7.30am, earlier in summer. I work solidly on whatever I have the energy for, so sometimes that is small, detailed work, some days its large canvas work, until about 11 or 12 when I stop to eat. I come back to the studio for another hour or so, then often have a nanna nap for about 20mins. Do some chores around the house or outside to have another break, and if I am lucky, I might get another hour or so in the afternoon. I rarely work at night if the family are around.


Q. Tell us one fun fact about you?

A. I couldn’t think of any, but then thought of two…

I speak some Italian and can name all of the states of America off by heart…but I don’t really know why I have this useless information stored in my head.

Q. I love the surface treatment in your work, there are always so many beautiful layers of painting, drawing, incising, etc. How do you know when a work is complete?           

I do the usual, let it sit around for a while, move it into a different space under a different light etc. I hate being rushed, so letting a work rest is best.

I will paint an area and be happy with it one day, and by the next it is gone. Give me a painting that I made 4 years ago, and I’ll keep painting on it. I just love mark making and exploring with layers. However, I hope to have more breathing or negative space in my work…. I have set myself this challenge.

Such a wonderful opportunity to get to know Tiel and her work better! To see Tiel's current exhibition click here.