Q and A with Tania Joscelyne

Q: Tell us about your background. How long have you been making art? 

I’ve loved doodling and drawing since childhood but making anything approximating art has been a long journey. It had to wait until I retired at age 60 some 21 years ago. 

I then went to Nepean TAFE, joined a couple of art societies, did numerous courses with well known artists, participated in local exhibitions, and tried everything. Urban landscapes were always a favourite subject but it wasn’t until I found pen&ink coupled with watercolours that I found my niche. That happened back in 2020 so I’ve found my home with art 6 years ago but I’m still evolving.

Q: What inspires your art?

When I was about 11 years old someone, maybe my mother or maybe it was a school excursion, took me to the AGNSW where I had an experience like no other. As post WWII stateless refugees we arrived here when I was 9, there was no art on our rental walls, so the abundance of art at AGNSW just blew me away. 

In particular I was totally mesmerised by Royde Maistre’s “Rhythmic composition in yellow green minor”. I thought it was the most beautiful thing I’d ever seen. I never again put pen to paper without acknowledging (to myself) that art can be magic. De Maistre’s painting is still hanging in the gallery and every time I’m there I pay homage to his talent. 

So, I think what I’m saying is that what other artists create inspires me. I just want to do better. I want the urban landscape I do tomorrow to be better than the one I did today.

Q: Your work uses bold colours and yet you choose to leave the figures and vehicles white with black outlines. Could you explain why?

My ghostly figures and vehicles are only there to provide both a sense of scale and urban activity. The buildings are solid, immovable fixtures. People, cars, come and go, the architecture outlives them. At the moment, however, I’m working on a series of single small residential homes and don’t feel the need to add my ghosts - the scale is easy enough to imagine as is any domestic activity

Q: You’ve mentioned that architecture inspires you endlessly - do you have a favourite style or period that you’re drawn to?

Yes, most definitely. I love both the Art Nouveau and Art Deco periods. For example, for Art Nouveau there’s nothing better than Gaudi’s work in Barcelona; for Art Deco the Chrysler and Empire State buildings in New York are unmissable. Closer to home Shanghai is overflowing with over a thousand And Deco Buildings, thanks to its status as China’s Paris in the 1930s. And here in Sydney, we are blessed with both Art Nouveau and Art Deco Hotels almost on every city corner. 

I also love our Colonial Buildings, and thanks to the efforts of Jack Mundey back in the 1970s we’re lucky there’s still so many left standing - his Green Ban saved The Rocks and other historical buildings in Sydney.

Q: Share a recent highlight of your artistic practice with us.

Well, everything that’s happened so far since Sarah accepted my work has been a highlight! Having this very stylish gallery in Springwood is magnificent. Sarah is just wonderful in every way. And I just hope that my work keeps selling so that I can stay a part of this enterprise for a good long while.