The 100 Day Project with Amanda Billing

The 100 Day Project with Amanda Billing

In this episode, I'm joined once again by Amanda Billing, who has completed several 100 Day Projects over the years. This time, she reflects on what happened when she spent 100 consecutive days working with clay, why she invited a community of artists to join her, and what she learned from watching dozens of people move through the same experience. We talk about why the 100 Day Project can be used to learn an entirely new medium, deepen an existing practice, or simply create space for something that's been sitting quietly in the background for years. Amanda shares why she believes the most successful projects aren't driven by external outcomes, but by deeply personal motivations that keep you coming back, even on the days when the excitement has worn off. Our conversation explores the reality of showing up every day: the boredom, the resistance, the unexpected breakthroughs, and the moments where you discover that the project isn't really about the work you're making at all. It's about the habits, stories and assumptions you uncover about yourself along the way. We also discuss what Amanda observed while guiding a group of artists through the process together. From experienced professionals to complete beginners they talked and shared their experience together - the uncertainty, self-doubt, periods where it felt like nothing was happening, and eventually, a growing confidence that extended well beyond the creative work itself. Amanda Billing is an actor, portrait photographer, and artist based in Auckland.  Find her at amandabilling.co.nz [http://amandabilling.co.nz] and on Instagram @amandabillingnz [https://www.instagram.com/_amandabilling_/] Find her 100 day project page here @_householdgods_ [https://www.instagram.com/_householdgods_/] Mentioned in this episode: * The 100 Day Project is run by Lindsay Jean Thompson. Find the Instagram at @dothe100dayproject [https://www.instagram.com/dothe100dayproject/]and the Substack at https://the100dayproject.substack.com/the100dayproject.substack.com [http://the100dayproject.substack.com]. * Wendy Mac find her substack here [https://club.drawtogether.studio/archive] and her instagram here [https://www.instagram.com/wendymac/?hl=en] * The podcast Make Art Not Content : find the episode here [https://open.spotify.com/episode/0cTBmOpKO9gjGEGev2WTq9?si=rY-IPcpXRZu1aemmp02D0g] and the Instagram here [https://www.instagram.com/makeartnotcontent/?hl=en] ---------------------------------------- Hosted on Acast. See acast.com/privacy [https://acast.com/privacy] for more information.

Art Friendships with Sam Michelle & Debbie Mackenzie

Sam Michelle and Deb McKenzie met more then a decade ago when they were both given studios in a shared space through their framer. What started as five or six days a week working alongside each other quietly became one of the most important relationships in both their practices. In this conversation we talk about what it means to have someone who genuinely gets it, not just the excitement of a new show, but the pre-show spiral, the post-show crash, the gallery relationship you're not sure is right, the decision that feels too big to make alone. We talk about vulnerability and whether you actually move through self-doubt faster when you've got someone to be honest with. We talk about the art world feeling opaque and why having one person you can call and say "is this normal?" matters.  We also get into what it means to have someone who can give you an honest perspective without any competing interest, someone who knows what's normal in this industry and what isn't, and who will tell you either way. Find Sam here on her website here and her instagram here: sammichelle.com.au [https://www.sammichellepaintings.com/]and on Instagram @sammichelleartist [https://www.instagram.com/samichelleartist/]. Find my previous chats with sam here [https://podcasts.apple.com/nz/podcast/sam-michelle-the-importance-of-consistency/id1738378716?i=1000669596642]  Find Debbie McKenzie on her website here and her instagram here debbiemackenzieartist.co [https://www.debbiemackenzieartist.com/]m and Instagram @debbiemackenzieartist [https://www.instagram.com/debbiemackenzieartist/] Find my previous chat with Deb here [https://shows.acast.com/the-creative-kind/episodes/building-a-body-of-work-with-debbie-mackenzie] You can find the podcast her [https://www.instagram.com/thecreativekindpodcast/]e on Instagram & here [https://thecreativekind.substack.com/] on substack Thanks so much for listening! Feel free to rate, review & share if you enjoyed it, this helps other people find the show ---------------------------------------- Hosted on Acast. See acast.com/privacy [https://acast.com/privacy] for more information.

Inside the Affordable Art Fair with Georgia Huestis

Most artists know the Affordable Art Fair exists. What it's actually like to be there as an artist, on the floor, in the booth, talking to strangers about your work for four days straight, is a different story. Georgia Huestis is the Fair Director of the Affordable Art Fair in Australia, with Fairs in Melbourne, Sydney and Brisbane and she was so generous with information this week in our chat. In this conversation we get into the mechanics of how the fair actually works for artists, be it with a gallery, the collective model, the Young Talent program for unrepresented artists under 35. We chatted about the sort of support the fair offers around selling, hanging, and getting your booth to land. Georgia is refreshingly practical about what a slow day means, what a first fair is supposed to feel like, and why bringing someone in as your support person might be one of the best decisions you make. you can find Georgia on instagram here [https://www.instagram.com/george_mccann/] Plus find the Affordable Art Fair Australia here [https://www.instagram.com/affordableartfairau/] on Instagram and their website here [https://affordableartfair.com/] The Melbourne Affordable Art fair is on soon- August 27-30 [https://affordableartfair.com/fairs/melbourne/] SYDNEY: 5-8 November BRISBANE: May 2027 Links * Affordable Art Fair Australia [https://www.affordableartfair.com/australia] * Georgia Huestis [https://www.instagram.com/george_mccann/] * Alice Palmer  [https://www.instagram.com/alicelaurapalmer/] * Rich & Strange Gallery [https://www.instagram.com/rich.andstrange/] * Angela Moritz [https://www.instagram.com/angelamaritzart/]  * Vandal ltd [https://www.instagram.com/vandal_ltd/]  [https://vandalartworks.com/] * Rachel Rush [https://www.instagram.com/rachel_rush_art/] * Diego Faivre [https://www.instagram.com/pekin_roasted_duck/] * Claudio Kirac [https://www.instagram.com/pekin_roasted_duck/] * Anna Price [https://www.instagram.com/annaprice_art/] You can find the podcast her [https://www.instagram.com/thecreativekindpodcast/]e on Instagram & here [https://thecreativekind.substack.com/] on substack Thanks so much for listening! Feel free to rate, review & share if you enjoyed it, this helps other people find the show ---------------------------------------- Hosted on Acast. See acast.com/privacy [https://acast.com/privacy] for more information.

When the Viewer Becomes Part of the Work- with Harriet Schwarzrock

What if standing in front of a work of art actually changed it? That's the question at the heart of this conversation with Harriet Schwarzrock, an Australian glass artist who captures plasma inside blown glass vessels that respond to your presence. Move closer, and the light shifts. Touch the surface, and it intensifies. The viewer literally becomes part of the circuit. Harriet is a doctoral candidate at the Australian National University researching plasma illumination as a responsive and relational artistic medium. Her work has been shown at the National Portrait Gallery in Canberra, Berengo Studio in Murano Venice, and most recently in Fluid Presence at Wagga Wagga City Art Gallery. We talk the role of the viewer, when she thinks about it, what it means for a viewer to complete a work and the interactions that happen when an artwork that can be touched or changes on approach. And we talk about what the role of human connection plays in the organic, vascular shapes that run through her most recent work. You can find Harriet here [https://www.instagram.com/harryschwarzrock/] on instagram and here [https://www.schwarzrockglass.com/] on her website Links: * Harriet Schwarzrock: www.schwarzrockglass.com [https://www.schwarzrockglass.com] * Harriet's 2026 Wagga Wagga Art Gallery [https://www.instagram.com/waggawaggaartgallery/] Installation [https://waggaartgallery.com.au/whats-on/past-exhibitions/exhibitions-2026/harriett-schwarzrock-fluid-presence] * Harriet's 2021 National Portrait Gallery [https://www.instagram.com/portraitau/]installation: portrait.gov.au [https://www.portrait.gov.au/exhibitions/harriet-schwarzrock-2021] * ANU School of Art & Design [https://cass.anu.edu.au/art-design-forum-harriet-schwarzrock-artist-floor-talk] * Canberra Glassworks : canberraglassworks.com [https://canberraglassworks.com/] * Steven Cole [https://www.instagram.com/stevencole_art/]: stevencole.com.au [stevencole.com.au] * Richard Wheater [https://www.instagram.com/richardwheater/] : www.richardwheater.com [www.richardwheater.com] * Emma Kate Heart [https://www.instagram.com/emmakate.hart/]:www.neon-hart.com [www.neon-hart.com] * David Haines [https://www.instagram.com/davidhainesart/]& Joyce Hinterding [https://www.instagram.com/joycehinterding/]: haineshinterding.net [https://www.haineshinterding.net] * Richard Box — FIELD [https://collidecolludecollaborate.wordpress.com/2016/01/12/field-by-richard-box/]: ---------------------------------------- Hosted on Acast. See acast.com/privacy [https://acast.com/privacy] for more information.

Art Without a Commercial Outcome with Lucy Hersey

Today on The Creative Kind, I’m talking to artist Lucy Hersey, who lives and works in South Gippsland, Victoria, creating paintings made from earth pigments she gathers and processes by hand. Lucy’s work is deeply connected to landscape, not just visually, but materially. She collects clays, rocks, and natural pigments from the land around her and turns them into paint, creating works that are literally made from the places they depict. But this conversation isn’t just about materials or process (though this might have to be a follow up episode!) We’re talking about something I think almost every artist wrestles with at some point: what actually happens when you try to make work without thinking about whether it will sell ? Artists hear that advice constantly “just make the work,” “don’t think commercially,” “follow the work” but the reality of doing this is usually more complicated then it sounds. Lucy talks openly about the tension between commercial work and non commercial work, the strange freedom of being given permission to work without a sales outcome attached, as well as some of the other things she learnt about herself and her work through this process. You can find Lucy Hersey on her Website: https://www.lucyhersey.com [https://www.lucyhersey.com] or on instagram here [https://www.instagram.com/lucyhersey/] * On Clarence Studios: https://www.instagram.com/onclarence/ [https://www.instagram.com/onclarence/] * Latrobe Regional Gallery: www.latroberegionalgallery.com You can find the podcast here [https://www.instagram.com/thecreativekindpodcast/] on Instagram & here [https://thecreativekind.substack.com/] on substack Thanks so much for listening! Feel free to rate, review & share if you enjoyed it, this helps other people find the show ---------------------------------------- Hosted on Acast. See acast.com/privacy [https://acast.com/privacy] for more information.