Meet our Guest with Artists Nell and Tony Albert
Image: Portrait of Nell and Tony Albert. Courtesy of the Artists.
If GOMA were a huge ‘Queenslander’ what might be in its front yard? This was the question posed by collaborating contemporary Australian artists Nell (Sydney) and Tony Albert (Brisbane, Girramay/Yidinyji/Kuku Yalanji peoples) in their winning submission for the first permanent artist-led, interactive play sculpture in Queensland’s Cultural Centre. Guest Work Agency has been advising the artists on their commissioning arrangement with Queensland Art Gallery/Gallery of Modern Art and fabricators UAP. For this edition of Meet our Guest, our Director and Founder, Alana Kushnir spoke to the artists about collaborating on this exciting project.
What led you to work together?
N: Tony and I shared a studio at Carriageworks for three years and that time together certainly provided the bedrock of understanding between us that made this collaboration possible. It really highlights the ongoing value of studio spaces for artists long after the residency is over. If wasn’t for the studios at Carriageworks The Big Hose would not exist!
And what was it like for each of you, crossing over from personal to professional relationship?
N: We are the same people in our personal and professional life. To different ends, our respective art practices are about offering something of our personal experience to the public, it’s the very reason we are artists.
Public play sculptures are becoming increasingly popular in Australia. Why do you think that is?
TA: Australian art is really starting to reflect the opportunity to be outdoors to interact with art, for all types of families. One of the strongest ways to educate about art is to be able to immerse yourself in it, which is what this sculpture does.
Image: Nell and Tony Albert, THE BIG HOSE, 2022. Artwork render courtesy of the artists.
QAGOMA have recently launched a public fundraising program for the commission of your artwork. I think this is quite an interesting funding model, one that’s still quite nascent in Australia. Do you think these types of co-funding models for public art commissions in Australia are necessary? Why/why not?
TA:It’s important to remember that state institutions are provided with funding to operate but not to buy artwork. This is something that a lot of people don’t realize and find interesting. It is really important that galleries have multiple paths and ways to philanthropically engage with the community. This could be something as simple as a tap and go donation through to major donations and commissions. I think that events that connect audiences with the artist are really successful as people get a lot more out of direct interaction with the art and artist.
Image: Nell and Tony Albert, THE BIG HOSE, 2022. Artwork render courtesy of the artists.
Do you have any tips for artists who want to collaborate with other artists?
N: There is no advice that is universal to all collaborations as each situation is so different. However, one thing I will say, is that when collaborations go well, the experience is a lot more fun. And Tony and I are having a lot of fun!