How did you first get into art? Did you study art or are you self-taught?
I fell in love with art when I was 17. I studied art in Year 11 and 12 for my HSC (Australian high school senior years) and then went on to complete a three year Advanced Diploma of Fine Arts at my local technical college when I was 22. The course covered art theory, drawing, painting, photography, ceramics and printmaking.
Where are you located? Is that where you’re from?
I was born in Wollongong, NSW Australia, and my parents moved around a lot when we were younger. I now reside at the beautiful coastal town of Port Macquarie, NSW Australia.
Does a sense of place influence your art?
Definitely! Before moving to Port Macquarie 6 months ago, I was living 7 hours south in a country town called Goulburn. I was just getting reacquainted with art after switching careers to be a school teacher for 11 years. Goulburn is extremely cold in winter (-10 degrees celsius) and my colour palette reflected the long gloomy winters. I painted very dark scenes using very low-chroma colours. Now I’m living in a much warmer climate and my colour palette has lightened significantly. My scenes are brightly lit, full of high-chroma colours and obviously the beach has taken centre stage in many of my newest paintings.
What mediums do you primarily work with? On canvas, paper, other?
I work mainly in oils on any smooth surface. I was painting on smooth MDF (wooden) panels but have recently switched to ACM (aluminium) panels, which are even smoother and much more archival. Earlier on, I was experimenting with acrylics and pastels but ultimately settled on oil paints. I paint mostly ‘solvent free’ which means I don’t use any harsh chemicals in my painting process. It’s better for the environment and I’m not washing plastics from acrylic paints down the drain.
Can you tell us about your latest series? What is the central story or feeling you’re conveying through this collection?
My series ‘Windows’ is all about feeling trapped both in terms of the circumstance you may find yourself in and/or trapped in a stereotype. Your daily life feels like a cage but one small window shows you an alternative, offering you a glimmer of hope and optimism. Animals and other elements coming in and out of the window demonstrate that this state is not permanent, and that you can change your whole life if you just get the courage up and make a change.
What was the initial inspiration behind this body of work? Was there a specific moment or idea that sparked this series?
My ‘Windows’ series started two years ago while I was living in Goulburn. It had been a particularly brutal winter and I remember looking out the window at another rainy day, wishing I was looking out at something more uplifting. Windows and boxes started appearing in my sketchbook and ‘March Hare’ was my first piece born in the series. Over time, the windows have become larger, revealing more of what’s possible on the other side.
Animals play a distinct role in your work, can you tell us a bit more about that?
I’ve always loved seeing animals in artwork. Every artist depicts them differently and for me, I wanted them to take centre-stage in both natural and man-made environments. Using animals to tell the story is much more subtle and, in my opinion, special. We’ve invaded every part of their habitat and I feel they’ve earned a spot in one of my paintings, not just as an aesthetic but to also raise awareness of the destruction of many species across the world, even if they are regarded as pests.
Do you prefer to work solo, or are there aspects where collaboration enhances your vision?
I work solo in my studio daily but, since moving to Port Macquarie, collaboration has definitely played a huge role in finding new opportunities. I have made so many new friends and am involved in lots of different art/sporting/business groups. Whether it be my surfing crew every morning or an artist meet-up, we always inevitably end up bouncing ideas off each other, regardless of our profession. For example, a local business owner who I surf with wanted to become more involved in an annual art event and so we are working together to create an art space using her place of business. It’s networking on steroids!
Are there mentors, or collaborators who have helped to shape your creative journey? How have they influenced your approach?
I fit the ‘secluded artist’ mould perfectly in terms of my creative journey. There have been artists whom I admire in terms of technique but my visions are my own. I would say YouTube has been my mentor and guide throughout my artistic career, particularly in the last few years. On YouTube, I primarily watch an artist husband and wife team in the United States (Rafi and Klee). They have definitely helped me gain the courage to take my art practice further and it’s because of them I started my own YouTube channel, ‘One Painting At A Time’.
What obstacles, if any, have you faced in your recent projects, and how have you navigated or overcome them?
As a full-time artist, I’m learning to go with the flow. I don’t face ‘obstacles’ as such but definitely feel the pressure of looming deadlines for exhibitions and various other time commitments. My yearly planner is on the wall right next to my easel and I go over it daily. I have some overlapping shows in the next month so my main goal is to have enough work to submit to all of them. It’s a juggling act for sure!
How do you ensure that the final piece aligns with your original vision, especially when working on such intricate details and opposing themes?
My final pieces never look like I envision them. I’ll start with a rough thumbnail in my sketchbook. I take a lot of my own reference shots so it’ll usually be something I’ve seen that will spark an idea, a local beach in the afternoon sun, or a giant lizard in the shrubs. I may have some colours in mind that I’d like to use. I draw out what I have onto my board and just sit with it, letting the image come to life in my mind. I’ll paint, reflect, paint, add something else, reflect. I work this way until I feel the piece is finished. I came up with a motto recently: ‘Allow room for creativity through flexibility’. Having everything planned out in a drawing prior to starting is incredibly boring for me and it seems to be the reason I can only work on one piece at a time. Each piece gets my undivided attention until it’s complete.
How do your recent pieces engage with current cultural or social themes?
My paintings contain no cultural or social themes as such. Someone else may look at them and see something different though. I once heard an artist say: ‘Paint what you want to see in the world’. I paint beauty and mystery inspired by nature. People need a repose from the daily horror show that is our current reality and I hope my art can provide them with that.
What do you hope viewers take away from experiencing your art?
I hope viewers of my artwork experience a sense of wonder. The comment that I get most when discussing my art is ‘Where do you get your ideas from?’ I believe everyone has the capacity to imagine the things I paint and I hope my art triggers their own creative spark.
How do you approach developing the aesthetic and tone of your work? Are there specific artistic influences that have shaped your style?
I have definitely been influenced by the genre of Trompe L’oeil and I adore any work by past and current Trompe L’oeil artists. William Harnett, Anthony Waichulis, Tony Curanaj, Natalie Featherston and Julie Beck are just some of my favourite artists that spark a sense of wonder for me.
Can people commission artwork from you? If so, what does that process look like
Yes! I only take commissions now if people are willing to let me interpret their ideas in my style. A commission is like a partnership, if I’m not excited about painting a piece, I can’t put my usual 110% into it. People can contact me from my website or the other social media platforms I am on. We’ll discuss their ideas and I’ll give them examples of how we can incorporate their ideas with mine. We discuss size relative to the clients budget and I take a 50% non-refundable deposit prior to starting. I’ll send a number of drawings for them to choose from. After we have settled on an image, I’ll complete the painting and send photos to the client for approval. The remainder of the payment is due prior to me shipping the work.
Where can people view your work? Are there any exhibitions, installations, or online galleries where audiences can experience your art?
My website www.hollyhartwell.com.au has most of my artwork. People can sign-up for my Collectors Newsletter which I only send out when I complete a new painting. My loyal collectors get to view the artwork first before it becomes available to everyone else. I’m also on Instagram @hollyartwell, Facebook, Threads and I have a YouTube channel: One Painting At A Time. I exhibit year-round locally in my home town at the Hastings Valley Art Gallery, Port Macquarie NSW Australia.
What’s next for you as an artist? Are there any upcoming projects, themes, or directions you’re excited to explore?
I’ve only recently gone full-time with my art so I’m still settling into running my business. 2025 is shaping up to be an incredibly busy year with a solo show in January at the Port Macquarie Arts Hub, various art prizes to paint for and a new commission, and then another solo show in May at the historic Roto House, Port Macquarie. I’m excited to see where the ‘Windows’ series leads to and if any themes will emerge moving forward.
Website: hollyhartwell.com.au
Artist: Holly Hartwell
Contact: [email protected]
Instagram: @hollyartwell
YouTube: One Painting At A Time
Patreon: Holly Hartwell
Location: Australia
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