The sculptor William Eicholtz and mixed media minimalist artist Louise Rippert have been working in the same studio in Windsor for twenty-five years. They currently shares the studio with ceramic artist Janet Beckhouse, fine artist and jewellery Rose Agnew, painter Karen Salter, and ceramics artist Caroline Gibbes. They have the lease for another four years but the construction is closing in around them as inner city Melbourne grows in height.
More than their art artists love their studios. Their art will hopefully be sold and go but the studio remains a constant muse. Most artist studios that I visit are in former factories or shops, partitioned into smaller individual studios. Aside from home studios I have rarely seen an artist studio who wasn’t sharing with other artists.
Alex Taylor Perils of the Studio (Australian Scholarly Publishing, 2007) is history of Melbourne art told from the perspective of the artist studio,Taylor shows that artist’s studios at the turn of the 20th Century demonstrated a range of ideas about what it is to be an artist: as an aesthete, as feminine, as a collector, as a scholar and as a bohemian.
Artists studios are considerably smaller and messier than a century ago, as described by Taylor. They are more workshops than lounge rooms. One reason for this is because artists are no longer working from models and are no longer selling art out of their studios.
There are less partitions than usual at the Windsor Place studio. Most of the artists can look up and see each other at work from across the studio. There is some cross pollination of ideas between the artists. Beckhouse has had a subtle influence on William Eicholtz and Caroline Gibbes who are both working in ceramics. They are unusually convivial studio in other ways; they go out together to exhibitions and events. The last time I ran into them at “Spring 1883” when they invited me to visit the studio. On the day I visited both Janet and Louise were wearing jewellery by Rose Agnew.
The day prior to my visit about thirty members of the NGV Women’s Association had visited the Windsor Place studio. This meant that the studio was unusually tidy and there was still left-over, but still delicious, cakes made by Rose. I know my place in the pecking order of the art world is somewhere below that of the ladies who lunch (I find it odd to imagine that such an organisation, as the NGV Women’s Association, still exists).
After morning tea the artist get back to work and I went around the studio seeing their space. I hadn’t met Karen Salter and Caroline Gibbes before so I took the opportunity of chatting with them and finding out more about their art. Salter paints the purity of forms of modernist architecture in 60s postcard colours.
Karen Salter was considering if a miniature version of one of her paintings would work in a modernist dolls house.
Louise Rippert preparing the support for her new work.
Rose Agnew was using this diorama as a model for a setting for her paintings of a hookah smoking caterpillar.
I will let the artists in Windsor get back to work. What other work place has so many visitors?