Interview with Barbara Knezevic – Hennessy Art Fund for IMMA Collection 2018
No More Workhorse got to ask Barbara Knezevic about her life as an artist and her work. You can see the results below…
Find out more about Barbara on her website here.
Did you always loved art, even as a child?
I have always had an interest in making things as a child, also in dismantling objects according to my parents. I wouldn’t have thought of what I was doing as art at all at the time, and there was no focus on art or discussion about that in my household. We didn’t attend museums or galleries when I was a child. So it was much later, in secondary school that I was introduced to the idea of art, and art history.
What artists did you love in your youth? Was there anyone in particular that captured your imagination?
I grew up in Australia so the artworks I was exposed to as a young person were generally those by Australian artists. There were several artists at that time that a group of us in art class at secondary school really responded to, artists like Jenny Watson, Tracey Moffatt, Emily Kame Kngwarreye, Margaret Preston, Fiona Hall and Lindy Lee.
At what point did art change into something you could see yourself doing as your career? When did you start taking it seriously?
It was late in secondary school in Sydney that I was really inspired by and influenced by two very excellent female art teachers. It was then that I began to understand that art could be about ideas and history and about capturing ideas and human experience through material and visual devices. They introduced me and the class to Modernism and Post-modernism and this was when I began to realise that this was something that I was absolutely engaged in and was energised by. I applied for art school as a result.
Your work is said to be ‘object based, finding form as complex staging’s and formations of object’. Are you constantly looking for objects to use in your work?
I’m always looking for a palette or selection of materials and existing ‘found objects’ to accumulate in the studio and then to potentially appropriate into a work. Sometimes these selections happen by discovery, mostly they happen by design.
When do you know when a work is finished?
I think in the case of the more recent works, it is where there is a balance or a particular energy struck between the formal, material, conceptual relationships between the objects. This is a moment that is hard to pinpoint or describe but it is achieved by a series of rearrangements and re-iterations of the objects in the studio.
The Hennessy Art Fund for IMMA Collection 2018 runs until 16 September 2018 at IMMA. You can find details here.