QUT Alumni, 22 November, 2022
Mona Ryder's career as an artist spans across four decades, and she graduated from QUT with a Bachelor of Visual Arts in 1991.
Since then, she’s exhibited her works widely and executed several major public art commissions and projects. Her latest exhibition, Minefield: The Art of Mona Ryder, is now on at QUT Art Museum, so we sat down with Mona to talk about what goes into an exhibition and what she loves most about her work.
Can you tell us about a typical day in the life of Mona Ryder looks like?
My work fits in with the family and they fit in with me. My dining room table is one of my work spaces, so often work is pushed to the end of the table to accommodate the tablecloth at meal times. Family and friends are used to this.
Most days I work – doing rough drawings, thinking about how to make the work, sourcing materials, organising my week, preparing work, creating work, then thinking about how to place the finished work in my studio in relationship to other pieces as part of an installation.
I also try to visit current exhibitions with friends, both local and interstate where possible.
What goes into organising an exhibition?
This depends on where the exhibition is and if it is a group or solo show.
Usually, I work for a year or two towards a solo show. The floorplan is important - the size of the space, the ceiling height, the floor surface. Is it one room or several rooms? What is the time frame to hang the show? Is there a team to hang the show? How long will the exhibition be open? Whose responsibility will it be to deliver the work to the gallery? These are just some of the elements I need to consider when working on an exhibition.
The size and weight of the work is often required, especially if work is going to hang from the ceiling, such as hanging heavy curtains or the weight of the sculptures I intend to make. Sometimes I like to have sound, or a change the colour on the walls. All these items need to be negotiated with the gallery holding the exhibition.
I start with a concept that slowly develops with drawings, then planning and finding the most suitable materials, and then making. The curator sees the components as they are completed, and assists in the development of the installation. When I am working on an installation, it is very fluid and slight changes are often made during the install phase at the gallery.
I also work on a statement that will accompany the exhibition, explaining my ideas or thought processes.
What do you enjoy most about your job, and what's one challenge to the role?
I love most things about my job. I like to be challenged. Giving an artist talk is one area I don’t enjoy until ten minutes into the talk, and then I relax a little!
What is your top career highlight of 2022, and why?
The opening of Minefield at QUT Art Museum. This exhibition has been a very positive experience, particularly working with Vanessa Van Ooyen and her team. Her professional and expert selection of the artworks for Minefield was done with sensitivity and respect for me as the artist, allowing my input into the decision making process. This is an important exhibition because after 40 years of working as an artist, this exhibition brings together works not seen before, alongside works such as prints, paintings, installations and watercolours completed early in my career, for the first time. The opening event drew a large crowd and the reaction was extremely positive.
What emerging trends can we expect to see more of in your industry in 2023 and beyond?
I would like to see less hierarchy in art making, and more support for artists in Queensland to enable a thriving arts community. I think the loss of an arts body like Artworkers Alliance which I was part of in the 90’s has diminished the arts sector and I hope to see the strength of an organisation like this emerge in support of artists.
The best piece of advice you have ever received?
Just try it and you never stop thinking!
What is one skill that you couldn’t live without?
Drawing.