The Creative Kind

Most artists know the Affordable Art Fair exists. What it's actually like to be there as an artist, on the floor, in the booth, talking to strangers about your work for four days straight, is a different story. Georgia Huestis is the Fair Director of the Affordable Art Fair in Australia, with Fairs in Melbourne, Sydney and Brisbane and she was so generous with information this week in our chat.In this conversation we get into the mechanics of how the fair actually works for artists, be it with a gallery, the collective model, the Young Talent program for unrepresented artists under 35. We chatted about the sort of support the fair offers around selling, hanging, and getting your booth to land. Georgia is refreshingly practical about what a slow day means, what a first fair is supposed to feel like, and why bringing someone in as your support person might be one of the best decisions you make.you can find Georgia on instagram herePlus find the Affordable Art Fair Australia here on Instagram and their website hereThe Melbourne Affordable Art fair is on soon- August 27-30SYDNEY: 5-8 NovemberBRISBANE: May 2027LinksAffordable Art Fair AustraliaGeorgia HuestisAlice Palmer Rich & Strange GalleryAngela Moritz Vandal ltd Rachel RushDiego FaivreClaudio KiracAnna PriceYou can find the podcast here on Instagram & here on substackThanks so much for listening! Feel free to rate, review & share if you enjoyed it, this helps other people find the show Hosted on Acast. See acast.com/privacy for more information.

Today on The Creative Kind, I’m talking to artist Lucy Hersey, who lives and works in South Gippsland, Victoria, creating paintings made from earth pigments she gathers and processes by hand.Lucy’s work is deeply connected to landscape, not just visually, but materially. She collects clays, rocks, and natural pigments from the land around her and turns them into paint, creating works that are literally made from the places they depict.But this conversation isn’t just about materials or process (though this might have to be a follow up episode!) We’re talking about something I think almost every artist wrestles with at some point: what actually happens when you try to make work without thinking about whether it will sell ? Artists hear that advice constantly “just make the work,” “don’t think commercially,” “follow the work” but the reality of doing this is usually more complicated then it sounds.Lucy talks openly about the tension between commercial work and non commercial work, the strange freedom of being given permission to work without a sales outcome attached, as well as some of the other things she learnt about herself and her work through this process.You can find Lucy Hersey on her Website: https://www.lucyhersey.com or on instagram hereOn Clarence Studios: https://www.instagram.com/onclarence/Latrobe Regional Gallery: www.latroberegionalgallery.comYou can find the podcast here on Instagram & here on substackThanks so much for listening! Feel free to rate, review & share if you enjoyed it, this helps other people find the show Hosted on Acast. See acast.com/privacy for more information.

In this episode, I'm joined by three of the women behind Sunny Studios: painter Rachael Mayne, artist Hannah Radford, and interior stylist Julia Fowler, to talk about what it really looks and feels like to build and sustain a shared creative space.We talk about how they found their large originally unglamorous space and why that was actually a smart move. What I hadn't expected going into this conversation was how much the shared space has changed each of their individual practices. All three talk about confidence; the kind that comes from having people around you who genuinely love your work, who'll give you honest feedback on a painting, and who will talk you down from an anxious spiral before it takes hold. Rach reflects on how working alongside others helped her lean into her biggest and boldest work yet. Hannah talks about learning through osmosis- watching an entire exhibition come together from the inside. Julia speaks about the shift of actually going to work, and what that has meant for how she shows up in her business and how her kids understand what she does.We also talk about how they divide the space and costs, how admin mostly takes care of itself, the value of growing slowly and carefully, and why the personality fit between studio members matters more than you'd think.You can find Rachael Mayne on her website and on Instagram. You can find our earlier chat on anxiety here You can find Hannah Radford on her website and on Instagram. You can find Julia Fowler on her website and on Instagram. You can find Sunny Studios on Instagram.Thanks so much for listening, if this one resonated, send it to a creative friend who might need to hear it. And feel free to rate, review and share if you enjoyed it. Hosted on Acast. See acast.com/privacy for more information.

In this episode, I'm joined by West Australian painter Wendy Marinich. We discuss what it actually looks like to build a body of work when you're in the middle of figuring it all out. Wendy came to painting a few years ago, after careers in floristry, catering, and working as a pasta maker at a well-known Perth restaurant. In that relatively short time, she's developing a practice that has a cohesive feel to it, full of mid-century warmth, bold colour, and a real sense of considered intent. I've been watching her work evolve for a while now, and I wanted to bring her on to talk about the process behind that, not from a place of looking back, but from right inside it.We talk about where ideas begin for Wendy;  that moment of instant clarity she had when she walked into her sister-in-law's house and saw a collection of vintage glass arranged by colour, and knew that was her next exhibition. We get into what happens when you have a clear concept but your instincts start pulling you somewhere else mid-series, and how she uses her body of work as a deliberate skills-building exercise. We also talk about the role of commissions, painting one-offs versus series, working on multiple pieces simultaneously, and why this year, for the first time, she decided not to book her exhibition before finishing the work.Find Wendy Marinich here on Instagram and her website You can find the podcast here on Instagram & here on substackThanks so much for listening! Feel free to rate, review and share if you enjoyed it,  it really does help other people find the show. Hosted on Acast. See acast.com/privacy for more information.

Sophie Vander is back, and this time we're going straight to your questions. Since Sophie's first appearance on the podcast back in August 2024, I have had a lot of follow up questions come in- it seems you had so much more you wanted to hear from her. So did I!Sophie is the founder and director of Curatorial+Co, a Sydney-based contemporary art gallery and consultancy on William Street in Woolloomooloo. She works with a stable of 45+ artists (80% of whom are female-identifying), leads a team of 11, and juggles gallery exhibitions, an art consultancy arm, and international art fairs, all at the same time.In this episode we cover a lot of ground, from the work Sophie saw at Art SG that completely stopped her in her tracks, to how she picks artists for international fairs, what actually puts her off an artist, and where she goes looking for new talent. We talk about the art market right now, honestly and practically, and what that means if you're an emerging artist trying to sell work. We chat about the gallery relationship; including the one thing she says almost never happens when artists come to her about representation, but really should.Links and people mentioned:Curatorial+Co website: curatorialandco.comCuratorial+Co on Instagram: @curatorialandcoMorgan Stokes: morganstok.es | @morganstok.esTheresa Hunt: @theresahuntartistSimon Cardwell: @cardwell.simonLynn Savery: lynnsavery.com.au | @lino_saverySophie Vander on the Build Beautiful podcast - hereSophie's first appearance on The Creative Kind: August 2024 episodeArtworks that Sophie Mentioned:Citra Sasmite at Art SGMarina Abramović at Art SGFor a more complete list- please check out the substack post here If you enjoyed this episode, please share it with an artist friend, it genuinely helps other people find the show Hosted on Acast. See acast.com/privacy for more information.

In this episode, I’m joined by artist and writer Diana Weymar, whose practice involves textiles, language, and collective participation. Diana is best known for the Tiny Pricks Project, an ongoing body of embroidered text works responding to political language, poetry, and cultural moments.We talk about what it means to make and share work when the world feels overwhelming, and how artists decide what deserves their attention. Diana speaks about translating words into thread, the difference between reacting and observing, and why slowness can be a powerful artistic tool in a fast-moving information landscape.We also discuss criticism, community, and the tension between wanting to speak out and recognising you can’t respond to everything. Diana shares how the project evolved from a small personal experiment into a global participatory archive of over 5,000 pieces, and why she’s comfortable letting a project change shape over time.This conversation explores political art, creative responsibility, and the quiet but profound impact of making something by hand. We talk about uncertainty, nuance, and the idea that art doesn’t always need to resolve issues, sometimes it simply holds space for them.Find Diana Weymar  here on instagram and also over at @tinypricksprojectand her website here at www.tinypricksproject.comYou can find the podcast here on Instagram & here on substackThanks so much for listening! Feel free to rate, review & share if you enjoyed it, this helps other people find the show Hosted on Acast. See acast.com/privacy for more information.

In this episode, I’m joined by Sydney based curator, writer, and artist mentor Amber Creswell Bell to talk about what it really means to be an artist right now, particularly in a slower market.Amber brings a broad perspective from working closely with emerging artists, running a national art prize, curating exhibitions, and spending years inside the commercial gallery system. We discuss what artists can focus on when sales slow, how to think more strategically about your practice, and why relying on luck alone rarely leads to sustainable outcomes.We talk about treating your art practice as a small business, understanding your audience, and using social media with intention rather than comparison. Amber shares her thoughts on what artists often spend too much energy on, how to research galleries and opportunities more effectively, and why being visible doesn’t have to mean chasing every trend. We also discuss the role of networking and community, the importance of finding a distinct visual language, and how art prizes can help artists build confidence, credibility, and new connections.Find Amber  here on her website or here on instagramYou can find the booking link hereUpcoming Masterclasses:MELBOURNE 13th MarchSYDNEY 28th MarchPOMONA (Sunshine Coast) 29th AprilBYRON BAY 30th AprilBRISBANE 20th JuneCANBERRA: to be announced soonYou can find the podcast here on Instagram & here on substackThanks so much for listening! Feel free to rate, review & share if you enjoyed it, this helps other people find the show Hosted on Acast. See acast.com/privacy for more information.

To mark the end of the year, I asked past guests of The Creative Kind to share one artwork that stayed with them in 2025. Something that made them pause, something that lingered. What came back were personal reflections on paintings, sculptures, installations, exhibitions, and moments of seeing art that surprised, unsettled, comforted, or quietly shifted something. Some guests spoke about a single work they couldn’t stop thinking about. Others reflected on whole exhibitions, artists they keep returning to, or practices that have reshaped how they work in their own studios.Across the episode, guests talk about scale and intimacy, about seeing work in person versus online, and about how materials, process, and repetition can carry meaning. Several guests speak about light and shadow, hope and heaviness, and the way an artwork can articulate something you didn’t yet have words for. There are also stories about risk, artists trying something unfamiliar, pushing their own boundaries, or committing to daily practice. A number of guests reflect on how these encounters with art have filtered back into their own practices, changing how they paint, build, repeat, simplify, or let go. Being moved by art doesn’t follow a single pattern, and sometimes the works that stay with us do so because they meet us differently each time we return to them.This episode lands in a heavy moment following the events in Bondi. My sincerest sympathies to the victims, their families, and community.All of the artists mentioned in this episode, along with recommendations from our guests, are linked in the Substack here. Hosted on Acast. See acast.com/privacy for more information.

In today’s episode, I’m talking with Hilde Lynn Helphenstein, the mind behind Jerry Gogosian, about the current state of the art market and the realities artists are facing right now. We discuss the recent market correction, how quickly prices can rise and fall, and what that means for artists whose work becomes tied to hype cycles. Hilde talks openly about dramatic price fluctuations, pricing as an emerging artist and why artists should build lives that support their practice, not the other way around.We also cover Hilde's thoughts on the unexpected careers people can discover when they step outside the art world, and the false pressure to measure success solely through big-name galleries or institutions. Hilde shares what she would do if she were an emerging artist starting out in 2026, from keeping living costs low to prioritising making the work itself.Resources & LinksYou can find Hilde’s substack here, website here and on instagram as Jerry Gogosian hereYou can find the podcast instagram hereThanks so much for listening! Feel free to rate, review & share if you enjoyed it, this helps other people find the showMentioned in the show:Magnus ReschDavid Sedaris If you've got a question you'd like me to explore- you can ask it here Hosted on Acast. See acast.com/privacy for more information.

In this episode I’m talking to Melbourne based miniatures artist Robyn Rich, whose work captures intimate, tiny worlds in reused and recycled objects. We talk about what it’s like to create art while living with chronic illness, and how limitations have shaped both her practice and her perspective.Robyn shares how art became a way to find her voice, to connect with others, and to make sense of her own experiences. We discuss the emotional power of small objects, the beauty of creating in a contained space, and the ways she’s built community through projects, Instagram, and her own miniature gallery.We also explore resilience, the lessons that come from rejection and illness, and how she navigates the tension between pushing herself creatively and taking care of her health. Robyn talks candidly about the challenges of sharing her work, asking for help, and finding ways to stay connected while honouring her own limits.You can Robyn’s website here and on instagram hereYou can find the podcast hereThanks so much for listening! Feel free to rate, review & share if you enjoyed it, this helps other people find the show Hosted on Acast. See acast.com/privacy for more information.

In this episode I speak with Kate Owen about the process of finding your market as an artist. Kate shares how trial and error has shaped her approach, from choosing the right galleries to refining the way she communicates with collectors. She talks about the importance of asking questions, and recognising when a particular avenue isn’t the right fit.We also look at the practical tools that support this process, including cataloguing artwork, building a mailing list that rewards collectors with early access to new work. Kate reflects on experimenting with newsletters, giveaways, and social media, and how paring things back over time has helped her focus on what really works. We chat about how her experience has required some experimenting and trying different strategies, seeing what sticks, and honing in on the things that align with her practice and life.Find Kate Owen website here and on instagram hereYou can find the podcast hereResources & LinksGreenhouse InteriorsCory (Corey) Huff — author / The Abundant Artist — Maggi / Maggie McDonald (artist / creative coach) —Louise King — Arlington Milne+1Bluethumb ArtArt Lovers Australia Artwork Archive Artlogic Bravery Co.Jumbled Paper PearThanks so much for listening! Feel free to rate, review & share if you enjoyed it, this helps other people find the show Hosted on Acast. See acast.com/privacy for more information.

In this episode I chat to Salma Price- Nell, also known as the Salsa Creative. Salma is a UK-based Cape Malay, South African artist and parent. We delve into the challenges and intersections of motherhood and maintaining an art practice. Salma discusses her primary medium of ink on paper and how her artwork, which often features organic forms like trees, has evolved since becoming a mother. We talk about the difficulties of finding time for art amidst parenting, the shift in priorities, and the therapeutic nature of creating art. Salma shares how she managed her creative practice while caring for her newborn, the importance of self-care, and the need to stay focused and present. We also touch on the impact of social media oand the lessons learned from navigating identity and productivity as a parent. Resources & LinksYou can find Salma’s website here and on instagram hereLetting Go by DavidHawkinsArt of Accomplishment by Jo HudsonYou can find the podcast hereThanks so much for listening! Feel free to rate, review & share if you enjoyed it, this helps other people find the showIf you've got a question you'd like me to explore- you can ask it here Hosted on Acast. See acast.com/privacy for more information.

In this episode I chat to Danielle Krysa from The Jealous Curator and artist Alexis Mixter about the shifting landscape of how artists share their work and connect with audiences.  Danielle has built a big and engaged community on Instagram and Substack and Alexis is spending less time on Instagram and in its place, finding time for a blog and more in person experiences.  We talk about the role social media plays for us in building community and an audience, what’s working, what’s not and what’s next. We talk about:Seeing art in person vs online: why some work doesn’t translate digitallyRediscovering permission to create: embracing your own style without rulesBalancing making and sharingThe joys of Substack and in person meet ups for deeper engagementBuilding community through small, supportive groups Planning and researching a strategy based on how your work is best seenCreative alternatives to the gallery wall, from art hotels to one-on-one collector connectionsThe vulnerability that comes with promoting your practiceWe all chatted about the realities of sharing on social media and explored how we are each carving out different ecosystems around our practice.My first chat with Danielle on Imposter Syndrome can be found here on apple and here on spotify You can Find Danielle & Alexis here:The Jealous Curator website and blog, Art Delivery The Jealous Curator Instagram and Danielle Krysa’s art page and websiteAlexis Mixter’s website, her substack “If Not Art” (and her instagram, just for funsies)I wrote a reflection on Substack to go with this episode, you can find it here!You can find the podcast hereThanks so much for listening! Feel free to rate, review & share if you enjoyed it, this helps other people find the showIf you've got a question you'd like me to explore- you can ask it here: Hosted on Acast. See acast.com/privacy for more information.