When one of my favourite authors, Siri Hustvedt, wrote an essay My Louise Bourgeois about one of my favourite artists, I got a little excited. Emotional, even. Louise Bourgeois has become the poster-grrl for many women artists, embodying and transcending the moniker of Confessional Artist. Woman Artist. Confessional Woman Artist. Mother. Difficult Woman. Hustvedt’s essay is the catalyst for My Emotionalism; an exhibition where the primary mutual endeavour of the artists gathered is to translate emotional states. And more.

Guy Brown and Grace Burzese

The artist’s studio, commonly a site for romantic ideas regarding art practise and enigmatic personalities. For most, it is a physical and psychological necessity that can be both private refuge and torment. The agony of the first mark, the doubt around new directions: the cliched standoff between the artist and blank canvas comes to mind. What are the possibilities when you share that intimate space?

Claudia Damichi’s current paintings are exquisitely detailed and decorative domestic interiors, executed in a vivid techni-colour palette. While her paintings primarily appear playful and embody a theatrical sensibility, they also present an imaginative retreat from the isolation the artist felt on relocating to Tasmania.

Damichi, who has exhibited extensively throughout Australia, will for the first time curate an exhibition “You Give Good Colour” in September this year, and will also present a solo show in May 2013. ARTIST PROFILE spoke to Damichi from her Hobart studio.

Interview by Ali Noble.

For emerging Australian artist Kate Baker, bold experimentation in the studio has produced innovative and evocative works that are being appreciated both nationally and internationally.

Profile by Ali Noble.

At the moment there are two factors that define my work: the arduous and often banal process of construction, and colour. Mostly my work is assembled in felt, in a kind of fabric parquetry. People are usually surprised that I hand cut all the felt circles. At times a circle cutter has looked very appealing, but I’m not quite ready to relinquish this ritualised connection to the process. I am attached to the intimacy and presence of the handmade. I am fascinated by work that is awkwardly elegant, not slick.