Have you thought to yourself: I’d get more art made if moved off the kitchen table into my own studio? Orange painter Tara Coey did just that and the move paid off. She opened her first full solo show, Place, at Peisley Street Gallery this month.
We caught up with Tara for some place-based inspiration:
What’s the Tara Coey back story?
I grew up in Brisbane suburbia. I did fine art in my senior years at school and while it was my favourite subject I didn’t see a future for me in creative arts. I put that largely down to a lack of confidence in my abilities, but I also wasn’t aware of a career pathway as such.
I studied Business – Advertising thinking I could channel some of that creativity however soon realised advertising wasn’t for me. Coming up with ways to sell a product was difficult so I picked up a few Public Relations subjects and never looked back.
I then went on to pursue a career in public relations and communications, working for various creative (marketing and advertising) agencies and moved into government communications and policy work in Brisbane and Sydney which I thoroughly enjoyed.
I married a Navy helicopter pilot and so we spent a few years moving around between Tamworth and the South Coast. However not long after falling pregnant with our second child, it was time to leave Navy-life.
Orange was always meant to be a stepping stone towards moving closer to our family in Queensland however we love it here and have put down roots. It’s hard being so far away from our family but now we’re here, we can’t imagine raising our three children anywhere else. Despite the freezing and sometimes unpredictable temperatures, this little Brisbane-born lady has (for the most-part) acclimatised!
Art was always present in your life, but it took a back seat. What finally gave you the confidence to pursue it seriously?
When our third child was a baby, I started needing something for myself, particularly of a nighttime. I began painting landscapes based on photos taken on weekend getaways around the Central West. The more I painted, the more I felt this pull to keep at it.
It felt as though this whole other side of me had woken up. I couldn’t get enough of it. I had three children under 5, and we were in the depths of raising little people, but I distinctively remember my husband saying, ‘you seem so much happier. It was true. This (creative) side of me that I’d forgotten – because I’d prioritised my comms career, then my family – had been rediscovered somehow.
I cringe when I think back to some of those earlier pieces, but I just kept at it. They don’t call it an art ‘practice’ for no reason.
It wasn’t necessarily a confidence to pursue it, but more a passion to keep at it. Over time and with practice, I started producing pieces that were stronger. Some of these were awarded in various art prizes locally and in Brisbane. It grew from there.
I don’t like the saying ‘fake it ‘til you make it’ because it sounds disingenuous but for me, it has always been about giving it a go – rather, a ‘let’s see!’.
Tell us about taking on a studio space. What’s the space like? How has that changed your practice?
Getting a studio space has been a game changer. I thought long and hard about taking the studio. While the rent is small, it did feel like a big step. After many years working from home coming in/out of maternity leave, the studio felt like a step in the right direction. If I wanted to take myself more seriously, this was a good chance to do so and to have a space dedicated to my practice.
The studio is on Lords Place which has a great energy. The studio itself is in the upstairs of an old building. It is light filled with tall ceilings, old wooden floorboards and so much character. I often go to turn the lights off, of an afternoon and realise they were never on!
The studio is open by appointment, and it’s been a great space to welcome visitors and collectors. It was exciting to open the studio doors during the Orange Art Trail earlier this year. We had so many people through – a great chance to talk about my work and to share it in an informal way. It was yet another reminder of what a great community we have.
My studio is next door to artist Sophie Corks so we’re often bouncing work off each other. It’s been nice to celebrate the ups together and share some of the more challenging times of being an artist. With Sophie moving to Newcastle at the end of this year, Sarah Randall will be my new studio buddy which I’m really looking forward to.
Would you recommend a separate studio space to other artists?
Absolutely! If you can make it work financially, then it’s absolutely a decision that will help grow your work. It’s a space where I can focus on my work without the distractions of looking at the piles of laundry and breakfast bowls on the table (they’ll always be there). For that reason alone, I think it can enhance your practice because for me, I began talking about it as my work rather than as a hobby. I think people’s perceptions of you as an artist can change too. As a result, I threw myself further into my art.
Don’t get me wrong though, I am often lugging paints and canvases back/forth from home and the studio but I consider that a fortunate side effect.
I know plenty of artists who work from the dining table or the garage and it suits them well. But for me, I was also seeking a separate workspace after many years working from home or looking after small children.
We met through the Out of the Studio visual artists networking – has there been any artists you’ve met there that have been of assistance or influence?
Yes! From memory, it was at the start of this year that I attended an Out of the Studio meeting and asked the group if there was someone who might consider mentoring me. I didn’t know how that might work in practice, but I did feel I have so much more to learn so I ‘put it out there’. David Lake got in contact offering to mentor me.
David has been wonderfully generous with his time, his feedback and support. He’s popped into the studio a few times and has been on the end of many, many an-email. Painting is lots of problem-solving and so I’ve really appreciated being able to bounce ideas off him. His feedback has been invaluable. I now find myself asking, ‘what would David do?’ when I’m contemplating an artwork.
In addition to improving my work, I have also enjoyed getting to know him and having someone to talk to about art in general.
How do you describe your painting style?
Softer, muted colour-palette with finer details in the foreground.
Your exhibition Place is described as a quiet tribute to regional Australia. What does the idea of “place” mean to you?
‘Place’ ties in to my becoming an artist. Had we not moved to Orange in 2020, I don’t think I would have pursued my art in the same way. I feel very grateful to live here but also, it’s the landscape around me that has inspired me to pick up the paintbrush once more. Big open skies, country roads, changing seasons and colours – what more could an artist ask for.
Whilst this collection isn’t purely of the Central West, it’s a definite tribute to this place and regional Australia more broadly. The landscape and light is unique. With my collection I am seeking to celebrate its quiet beauty.
Your palette often favours muted, earthy tones. What do those colours allow you to express that brighter colours might not?
I want to express a soft, quieter beauty. Something that draws you in for a closer look without being overtly loud and bright. Perhaps it’s a comfort thing.
What are you hoping people feel when they stand in front of one of your paintings?
A sense of quiet beauty. A stillness. I’ve heard people say they feel calmer for having viewed my paintings, which is a lovely image for me as an artist.
Do you have a favourite work in the exhibition, or one that carries a particularly meaningful story?
‘A subtle glow’ is a favourite of mine, as is ‘Room to Breathe’. They are very different pieces. ‘Room to Breathe’ was a push in terms of skill and patience. I painted every single blade of grass over and over again. It required a huge amount of patience. My hands moved slower – there’s a delicacy to it. I sat down and worked on that piece for months.
Whereas ‘A subtle glow’ felt freer. I stood up and enjoyed moving over the canvas with bigger brush strokes. My intention was always to finesse some of it further, but I realised the magic was in keeping it a little looser.
Winning a regional art prize and securing opportunities such as next year’s Affordable Art Fair suggest a growing profile. Has success changed your confidence as an artist?
It’s been an encouraging sign that I’m on the right track for sure. I know there’s plenty of room to learn and grow but I’m really excited knowing people have responded positively to my work. I feel like I’m only getting started and I’m excited for what lies ahead.
Your work invites people to slow down and notice landscapes that might otherwise be overlooked. What is something about the Central West that you think locals take for granted, but shouldn’t?
I hope my work encourages people to notice and appreciate the little things – a wonky fence, a misty morning, ducks on a dam, reflections in water, the colours in the clouds and how they change throughout the day and evening.