Brook Andrew
Brook Andrew’s astute interrogations of history and race are created from text and images in a quietly imposing warehouse studio.
Rose Nolan
A timely opportunity finds Rose Nolan steadfastly working on a large-scale installation in a studio sublet in Melbourne’s gritty west.
Yvette Coppersmith
Surrounded by a verdant garden, a simple garage conversion clad in plywood makes a small but sufficient space for Yvette Coppersmith’s painting practice.
Nick Mourtzakis
“I’ve been in this studio since 1998. It’s not an ideal space for many reasons. It’s difficult to get good sources of natural light. My preference is to always use natural light. I won’t use artificial light on the surface of the paintings; it’s not so difficult with drawing because there’s no problem with colour being distorted.”
Nell
“My studio is here in Kings Cross – in fact the three studios I’ve had since art school have all been in the Cross. The studio is above an old-school barber and the buzzer doesn’t work so when people come to visit they have to SMS me or yell up at the windows.”
Sonia Payes
“If I’ve got images that I think are fantastic for an exhibition, I’ll print them up and stick them to a wall or a pin board. I do pretty large test strips. I’ll stare at them for months and see if they still give me that gut feeling.”
Esther Stewart
“It’s really important for me to be able to control what’s coming in – good light, temperature control – so that it’s warm or cold and you’re comfortable.”
Megan Cope
“Having a home studio is really good for those spontaneous inspirations that come in the middle of the night. They don’t happen often, but it’s nice to have a space close to home. The only drawback is you can lose track of time.”
