Jane Fontane is a young artist born and raised in Sydney, Australia. Her art brings to modern printmaking the autobiographical innocence of a childhood forged between Transformers and Barbies, dealing with the icons and values that children seem to outgrow all too quickly. Since graduating from the UNSW College of Fine Arts, her works has been exhibited in both group and solo shows around Sydney. Trespass Magazine’s Samuel Webster caught up with her to discuss modern art, the creative process and her latest exhibition.
Getting to know Jane…
If I could live in the backroom of any store in Sydney it would be … At Toys ‘R’ Us
I prefer to spend my days … Curled up in bed OR screenprinting (equally)
The story of the Jane Fontane rise to fame starts in 2004 when I had nothing better to do than go to art school (bless procrastination).
I can’t find the words to describe the time spent studying Printmaking at Sydney’s College of Fine Arts because it changed my life.
THE EXHIBITION:
The latest exhibition is a group show that opened on the 28th November (sponsored by absolut!) called Hip Pop. The show is at United Galleries (179-181 Palmer St, East Sydney until Mid January 2009) and is a collection of eight young Australian Artists. The exhibition not only supports young, emerging artists but also a percentage of profits go to Youth Off the Streets. Just Prior to Hip Pop I had my first Solo Show at Saatchi & Saatchi HQ which exhibited work that ranged from small screenprints to works on metal to huge 2.5 M screenprints. These works reflected my longing to be a kid again, to play with toys and have summer holidays and hold on to that feeling.
What was the main inspiration behind the series?
Most of my work deals with the notion that as a society we are fighting to stay young, to keep that freedom. The imagery I use in my work is universal but at the same time personal. Each different person who views the work recognises the object or work in a broad sense but then attaches their individual childhood stories or memories to it. This is a really nice concept of the universal becoming the personal, simply through interaction.
The inspiration for the newest series comes from the notion that all children have a right to be children and to play and dress up and fool around. The continuation of this is that as adults we have the desire to also play have fun and maintain that level of ‘childishness’ which for me is not a negative. The jail boys, for me, are a series about getting caught (as an adult) being a kid and that not necessarily being a bad thing.
Saatchi & Saatchi is a pretty well known brand around the world, how did your solo exhibition come about?
All the credit for organising the Saatchi show has to go to United Galleries and specifically Jonathan White. United set up the whole thing from the space to the sponsors. I created the works and turned up on the night. It was an amazing experience.
Is there something specific about your work that you think suits that venue over the other ones available in sydney?
The work and the venue suited each other because of the graphic quality of my work and the obvious calibre of the Saatchi Brand. On a purely aesthetic level, the works looked amazing on the exposed brick walls and the backdrop of Sydney Harbour worked nicely too. I think the work was received so well partly because of the reputation of Saatchi & Saatchi and the exhibitions they have had previously as well as my own (if modest) following. I think the connection between the works and Saatchi & Saatchi is less about it being a ‘better’ fit than other venues and more about the works being accessible to audiences despite their location. Saatchi provided an amazing space, as they often do for young artists, for my work to be viewed not only by the art world but by their entire client base.
About ‘The Arts’
What specifically drew you towards Printmaking as your main focus?
Printmaking originally drew me in for its graphic qualities, specifically stencil art. When I learned that I could refine these skills using screenprinting and create works that reflected the concepts I was dealing with, I think I just connected. As a product I found a medium that not only works extremely well for me but also a process that calms me and that I enjoy doing, which is really important.
What do you think about Australian arts in general? Are there areas where you think we’re really falling behind, are there emerging forms that need to be more heavily financed?
I think all new and emerging artists need more support. I was extremely fortunate to have a Gallery spot me when I was still in university however a lot of great young artists slip through simply because without the luxury of a Gallery behind you is it difficult to get your stuff out there. In terms of the broader scope of art I think Australian Artists are doing really well, especially the young artists. At this years Art Sydney I was not alone in thinking that the New Generation Artists were among the best of the entire show. I think that’s a really good thing and a nice indication of the future of Australian Art.
Gen Y seems to have this rebellious thing about “cultured” outlets. It’s almost as if we revere the irreverent, and shun anything that seems institutionalised. How do YOU think Generation Y approaches art? Should we reevaluate?
I think an ‘approach’ to art is a very personal thing. I certainly do not subscribe to the idea that young artists should ONLY show their work through Artist Run Spaces or that showing through a commerical gallery is some kind of a ‘sell out’. I believe that any opportunity or avenue that gets your work to the public is a good thing. I certainly respect each individuals choice to show their work in whatever way they deem fit. I think the most important thing is getting the art out there and maintaining your integrity. If you can do both of those thing you’re halfway there, the other half is selling it, which is where a commercial gallery comes in handy.
Do you think the perceived ’30 second attention span’ of our generation changes the way that the creative arts have focussed themselves?
I think the idea that we as a generation have a short attention span doesn’t give us enough credit. Obviously we have been trained to want things faster, smarter and more entertaining but that is not necessarily a reflection on the entire generation, nor is is a bad thing. I think the creative arts reflects a culture that demands excellence whatever the process. The focus of creative arts has of course shifted but it will continue to do so and evolve as society and audiences become more demanding - and thats fine, it keeps it interesting.
If there was one way that society could help “The Arts” out it would be?
Ah, only one way? It’s so hard to say because ‘The Arts’ is such a broad spectrum. But of course I’d have to say funding. The arts needs more funding all over - from early childhood education to high school to University to public art. ‘The Arts’ needs money, but who doesn’t?
What do you think people need to get out of art today that wasn’t being produced in earlier years?
I’m not sure it is a case of needing something different or that we are responding differently. For me, the new art I see coming out is so much better than anything I’ve seen before. As we get more ‘art savvy’ as a culture, it raises the bar for all new art. I really like that. Hopefully people get something from my art that they don’t get from anywhere else, it’s that individuality that I personally strive for.
Jane’s latest exhibition is at United Galleries (179-181 Palmer St, East Sydney) until mid-January.
To see more about Jane and her work, visit her website.
