Interviews with artists.



New Zealand born, Melbourne based artist Tia Ansell creates works using weaving, ceramics, paint and metal. Her textual pieces combine an interest in grids, lines, patterns and codes, and are a direct response to architectural structures and the urban landscape.

Ansell’s assemblages are a connection to her immediate environment, with colours and shapes translated through landscapes she’s viewed, streets she’s walked, and places she’s lived. Her approach to materials occupies a space between industrial and hand-made, technology and craft; merging ancient modes of making with contemporary systems and codes.

Christine Willcocks

Christine Willcocks is one of the founders of the Byron School of Art (BS’A), an independent educational program run by artists. Set at the foot of Mount Chincogan, the school was started by a close group of friends that called themselves The Industrialists.

Modelled on the legendary Black Mountain College (1933-1957) in rural North Carolina, The BS’A has attracted to the small rural community of Mullumbimby some of Australia’s leading arts practitioners. Willcocks explains, “When we started, we knew that there were a lot of people in the area that wanted to study art, but due to the funding cuts, their choices were limited.  We knew people out there would come.  You can’t stop creativity. If the Government were smart and they really wanted to make this country a 'clever country', they would base everything on the arts.  You start people off thinking differently about the world - creatively - and you can channel that anywhere.  It’s a way of thinking”.


Profound contemplation and intuition are evident in Utako Shindo’s installations, which have guided her creative practice over the last ten years.  Born in the Western suburbs of Tokyo, Utako Shindo’s path to becoming an artist began when more than half-way through her university law degree majoring in politics, she decided to move to Melbourne and look for a 'different kind of life experience'. To convince her parents that she needed to leave Japan, she acrobatically tumbled down two flights of stairs. As she describes, “I could not explain in a logical way that I needed to change my environment.  It wasn’t planned, it was spontaneous.  Especially when you are young, you can go crazy as you don't know yet how to comprehend your own feelings. I think that was the same thing. I could mystify this story and say that it was a great sign or say it was destiny, but it was just a moment when I went ‘crazy’ and I could only express it in a crazy way”.

abrie fourie 

Pretoria-born artist Abrie Fourie has spent the last twenty-five years teaching, publishing, curating and exhibiting alongside some of South Africa’s most esteemed artists. His curatorial practice has seen him develop exhibition spaces outside the traditional white box, while his arts practice has seen his work produced and exhibited in Dubai, Santiago, New York, Brussels, Antwerp, Venice, Berlin, Johannesburg, Savannah, Cape Town, Tokyo and Rome.


ingrid lafleur

After relocating back to Detroit four years ago, Ingrid LaFleur witnessed the effect of gentrification and the visible lack of the inclusion of black culture and the black population in the future of the city. In response, LaFleur established the creative project Afrotopia, which uses the broadening cultural aesthetic and philosophy of Afrofuturism as its departure point. Encompassing exhibitions, film screenings, workshops and teachings, LaFleur has been utilising these different platforms as a way of inspiring, cultivating and curating the black voice into the city.

Lucy Powell

lucy powel 

In 1995 after finishing art school in Liverpool, British-born artist Lucy Powell moved to Berlin. In 2011, as an extension of her practice and as a way of facilitating conversations between the disciplines of art and science, Lucy created Salon Satellite with Andrea Roe and Sara Barnes.  Now, working with the flux of artists and scholars passing through Berlin, Salon Satellite facilitates international relationships and collaborative research between artists, scientist, writers, historians and curators. 

Abbra Kotlarczyk


Abbra Kotlarczyk grew up in a small log cabin that her father built in a forest.  Living completely off the grid, her childhood and teenage experiences were punctuated with periods of no hot water and bucket showers.   In her early twenties, Kotlarczyk moved to Melbourne and began working as a studio assistant for feminist pioneer Sue Ford, one of Australia’s most important photographer, film-maker and visual artists.  Whether subconsciously or not, it was her conversations with Ford that would influence her writing and arts practice, and later inspire her article, Re-Sweeping Exchanges: Notes on the Feminist Body Politic.  

I think I was needing to depart from painting when I left, or at least go away to reflect on it. I was having this somewhat suffocating experience of painting in this context, like painters here were too safe. Through my travels and time in Vancouver, I found other outlets that were born out of necessity. It’s common for artists traveling to work small, or find a different means of expression. So I think that it was probably a case of seeking it but also it was exposure to other art scenes and political realities.

This is an important moment. I am just one of many artists who have chosen to revisit the archive and step up to challenge it. It’s happening with women. It’s happening with black people (read non-whites). It’s happening with former colonial subjects. People are picking up the camera and asserting themselves because it’s frustrating to be the subject of study and have no input to how you are being portrayed.
— Ayana V. Jackson

ayana v. jackson 

The work of American born artist and photographer Ayana V. Jackson examines the complexities of photographic representation and the role of the camera in constructing identity. Using reportage, performance and studio-based portraiture, Jackson’s practice can be seen as a map of the ethical considerations and relationships involved between the photographer, subject and the viewer.

In her recent series, Archival Impulse and Poverty Pornography, Jackson re-stages images from Africa’s photographic archives from the late 19th and early 20th Century and places her own body within the narrative to subvert colonial representations of the black body. As author, subject and editor, Jackson uses the deconstruction of these historic images as scenes of remembrance and activism to examine the ongoing racial preferences that persist in contemporary society and photography.



Many of Berlin-based Ellla Ziegler’s astute interventions operate outside the confines of an institutional context, commenting on the use and ownership of public space. The city is her studio and collaborating with strangers, whether knowingly or not, forms the basis of her conceptual and transdisciplinary approach. Her gestures challenge the audience to interact with the city in new ways, posing the question of how urban spaces might function differently and making clear the importance of this    re-evaluation.

Ziegler has placed and actioned her work in various cities across Europe and South Africa, publishing her book, Alles in Ordung A-Z, a documentation of these works. Her work was included as part of dOCUMENTA (13) and currently she works as a Professor at the Kassel Art Academy.                                                                                       



christopher koller 

A conversation with Australian artist Christopher Koller is like roaming through strange and wondrous terrains. His travels through foreign latitudes from the late 1960s through to the mid 1980s reflect in his practice, which is viscerally textual and loaded with obscure literary references. 

For sixteen years Koller was the Head of Photography at the Victorian College of the Arts [Melbourne] and is responsible for influencing clusters of younger artists. He freely admits that ideas are more important than focus or lighting, and his professional motto is, “If you don’t ask, the answer is already no”.

Lucy Griggs


For eighteen months Australian artist Lucy Griggs lived in Kazakhstan, a landlocked country known for its topographical diversity, extreme climates and mineral rich soils. As an outsider in a foreign culture, Griggs documented the daily existence of people in Almaty. Her observations, filled with hope, despair and romance, were then rendered into watercolour paintings on old Soviet Union notebooks, drawing together the complicated history and changing urbanity of the city.

I chose the image of balloon sellers as they symbolised for me the many contradictions I saw in Kazakhstan. It’s a very romantic place – there is this whole love and romantic thing going on that we don’t experience so much here. Young couples kissing in parks, long stem red roses, and of course, the balloon sellers walking the streets. The whole concept of love is celebrated and you see lots of sweet romantic things. But there is also a dark side to that as well. The balloon sellers I felt are a part of that. It was pointed out to me that some of the balloon sellers are actually drug dealers. Young dudes walking around in Adidas trackies selling balloons and more.
— Lucy Griggs

I’m not playing at the hip new club that a lot of beautiful people are lining up to get into. It’s people who are living in poverty that want some entertainment. Fuck yeah! We’ll invite this guy into the neighbourhood. So a lot of the stories from the US are basically the same story as I just told. People are like, “Come inside I’ve got some soup on the stove”. But I don’t want it to sound as though I don’t have a good time, it’s just the fact it’s not glamorous touring as Freddy. It’s a formative part of my philosophy of making music.
— Tom Young


Originally hailing from the small university town of Dunedin in New Zealand, Tom Young lives in Kreuzberg, Berlin.  His crude 'studio with mattress' is filled with craft materials, stencils, guitars, clay puppets and a roughly made tour schedule pinned to the wall with locations such as Buffalo, Philly and Budapest drawn in.

Sitting in a friend's apartment, Young talks about his adventures on the road, his new album and making merchandise in car parks behind venues.

Established in 2015, Fierce Latitudes is an art project that features interviews with artists. Based in Melbourne.