▶ INTERVIEW WITH GORDON ELLIOTT, CURATOR OF LUST

Lust is one of the Seven Deadly Sins and often carries a sexual connotation. What does lust mean to you and how is it explored in this exhibition?

Lust takes on many forms. We can lust after material goods, food, money, fashion, life itself or the one that generally comes to mind, the lust for flesh and the body.

By taking a wider view of the topic, it allows artists to explore their feelings, attitudes and concepts in creating their works and shows the inner self or the secrets we all have inside.


What was the first work you selected for 'Lust' and in what way did it inform the rest of your selection?

Rather than select a work for the show, my focus was on the artists that I wanted to include in the exhibition. I was looking for established as well as emerging artists and I had to be confident that the artists selected would be able to create works highlighting their talents and also make an appropriate work relevant to the theme. As I am fortunate to visit many places due to other work commitments, I am often able to visit galleries and artists studios across Australia and New Zealand. I am always on the lookout for exceptional art and keep files on artists I come across whose work I like. I draw from this bank of knowledge when I am thinking about curating an exhibition. I then draw up a list and approach the galleries that represent that artist and the process of inviting them to be part of the show begins.

With all the artists who are involved in ‘Lust’, I had previously viewed their work in galleries and visited their studios to see how and where they worked. I think this personal knowledge of the artist assists with bringing the show together.

Left: Bernice Davies, '1913 Nudes' 2011, acrylic on canvas - diptych, 167 x 182cm
Right: Dan Gladden, 'Cut Out 1' 2010, acrylic and spray paint on board, 121 x 83cm

What has been your biggest challenge while curating 'Lust'?

Time is always the biggest challenge for any exhibition. Planning ahead helps, as does good documentation which I find keeps me on track. I keep in touch with the artists on a regular basis, mostly to find out if they need assistance or information that I may be able to provide. I try to make it as easy as possible for both the gallery and the artists by keeping both informed and to attempt to collate all the information prior to the installation day.


What is your approach to the install of the exhibition?

Installation is a hard task at any time but for a group exhibition is it generally harder. As the works are by a variety of artists and the size, style and materials are all different, the trick is to work these components together to give the show the most visual impact for the viewer. Certain works will be located together to highlight part of the theme and others will need to stand alone. Size is not always the main issue as small works can give just as much impact to the show,

The works will be displayed differently: on the wall, shelves, plinths etc and these factors also affect the install process. Finally, each work needs the appropriate lighting so it shines.

Left: Julian Meagher (Represented by Chalk Horse Gallery, Sydney), 'Hitting on all eight' 2011, oil on linen, 140 x 92cm
Right: Todd Fuller, 'Lust' 2011, flocked terracotta, 44 x 66 x 34cm

You have a very impressive art collection. Did you curate your own collection following similar themes you explore in 'Lust'?

I have been collecting art for almost 15 years now and the works I have at home are all pieces I love. Over time, both my eye has changed as well as the amount I am prepared to pay for the art I love, so the collection has undergone several lives. Loosely, the collection revolves around ‘Figure in a Landscape’ as a broad curatorial basis. One thing I make a point of doing is to follow the career of the artists I love and to select good quality works from a number of their exhibitions across all of the mediums they may employ.

It's rare a collector that can stick to the one theme and I am no exception. There is also a small side area of artworks with ‘Dogs’ as the theme. They are so much easier to look after than the real thing and they don’t even need walking! I have to add though, that it doesn't make up for the unconditional love a dog will give you every time you walk in the room.


What prompted you to begin collecting art? And what are some of your favourite pieces in your collection?

I had been interested in art for a long time but never had the opportunity to do much about it. I purchased a new house and decided that only ORIGINAL art would hang on the walls. After a long interval, the first few works were purchased and it has grown from there. Once I decided that this was a great path to follow, I did more and more research and have continued this search for knowledge ever since.

I have several works that are favourites as well as several favourite artists who I continue to follow. For me, it is a bit like selecting your favourite child, however, I can say that I have several works by James Gleeson, Rick Amor and Euan Macleod, who are all well established artists and several works by Julian Meagher and Todd Fuller who are extremely talented emerging artists. My collecting days are far from over and I expect the collection to evolve and change as I continue my journey into art.