Growing up, did you always have a passion for art?
Growing up, I always liked drawing. Many of my family members were artists so this led me to naturally gravitate towards creating. Some of my earliest memories were spending time at my Nan’s house on a Saturday when older family members would be making digeridoos, painting, or playing guitar. As kids we would watch music videos in the morning and play at the park for the rest of the day.
Tell us a bit about your creative practice. What motivates you to create? What message do you hope to share through your work?
I have a multi-disciplinary practice that includes illustration, design, painting, sculpture, animation and craft. I like to do a bit of everything because it gets boring doing one thing and I want my creativity to not be bound by medium or style. I like my work to be poetic and funny. It tends to be social commentary on nuanced situations where we might not have the words to explain our feelings. I then apply grandeur and the importance of a myth.
How did your time at Curtin help you develop your skills as an artist?
My time at Curtin provided me with most of my fundamental technical ability. I believe I had a lot of raw ability, but Curtin taught me methods to harness that skill set. I learned a lot about the industry and that gave me a lot of confidence. I think my time at Curtin helped me realise the demand that’s on you as an artist.
Tell us a bit about your newly commissioned work on display at the John Curtin Gallery and what do you hope viewers take away with them after viewing?
The work on display at Curtin features six large digital prints that are a direct response to the Carrolup Collection, which is partially archived at Curtin and is an important body of work for Western Australia. The works are individually titled Enter Face Ethel, Heavy Bottom John, Dancing Douglas the Deliberate, Martha Mangle Stuck Together, Sitting Slick Suzie and Bob Boarded Boxed In. I want viewers to remember the contribution of the child artists in Carrolup to art in Australia and documenting the southwest region. I also want viewers to understand that Indigenous art has been more valued than Indigenous life in Australia.
Who are your biggest artistic influences?
My biggest influence was probably Ralph Steadman because his process is fast and expressive. When I was younger, I didn’t think my work was good because it didn’t take a long time to create. I thought labour was indicative of quality art. Other influences were my pop, Paul, Jean-Micheal Basquiat, Shaun Tan, Tarryn Gill and Abdul Abullah.
Finally, what advice do you have for Curtin students or anyone aspiring to pursue art as a full-time career?
Be active in local and national competitions, develop a portfolio of what interests you and what is trending, send that portfolio everywhere just to let people know you exist. Apply for expressions of interest, artist programs and markets. Continually step outside of your comfort zone and don’t be disheartened by failing because it’s going to happen more times than you succeed. You really do have to be tenacious if you want to make a living from this.
Discover more of Tyrown’s work here.