No Life Without Art: An Interview with Tom Fisher

Tom Fisher is an illustrator, street artist, graffiti artist and up-and-coming tattoo artist working at Nauti Studios in the Blue Mountains. We asked Tom some red hot Qs to get a behind the scenes look at their world, and the inspiration behind their work.

Tom working on his beautiful jellyfish mural at Nauti in the Blue Mountains.

Tea or coffee?
Tea

Sunrise or sunset?
Sunset

What scares you?
Reality

When did you start drawing?
I started from back as far as I can remember, especially with my grandma taking me to art classes and introducing me to different galleries around Sydney at such a younger. I was always really drawn to cartoons as a kid.

What inspires you and your work?
Usually seeing what my mates are working on whether that be through spray painting, tattooing, fine painting or even music. But definitely having a background in graffiti definitely still has a lot of influence on my art and where it's going.

What’s your fav thing about Nauti?
I love how it's such a great environment where people can be their selfs and not be judged but also feel comfortable to express themselves. It feels like a second home. It’s quite a social environment and there’s always somebody around to have a chat with.

What is the piece of work you are most proud of?
Probably the large scale jellyfish I’ve painted on the wall facing the front entrance of Nauti. It was great to have a nice big space to fill and I really enjoyed the creative freedom I had with it. It was painted alongside the Porthole Gallery paintings as part of the last Nauti Studios Open Day.

What are you working on at the moment?
A whole bunch of stuff and hopefully bigger things to come. I’m hoping to find more time to work on my own designs in between my work and other commitments.

What are your favourite materials to use?
At the moment I’m really enjoying getting into using ink pencils. I’ve also been using spray paint for a long time which began when I started venturing into my own creativity more.

A pic of Tom’s big beautiful jellyfish painted on the walls of Nauti in the Blue Mountains.

If you weren't an artist, what would you be?
I honestly don't know to be honest, can't really imagine life without art.

Have any artists changed the way you see the world?
Definitely mates of mine that are pushing their careers with tattooing or art that they’re bringing to the streets.

To keep in touch and up to date with Tom and their work you can follow
them on instagram by clicking here.

If you want a creative space of your own at Nauti Studios like Tom,
by getting in touch by clicking here.

Come Alive: An Interview with Mailer Daemon aka Sina aka MixedBySina

Sina Djavadkhani, also known as the producer Mailer Daemon and 'Mixed by Sina’ has been working at Nauti Studios in Sydney.

With a passion for music that runs deep Sina has established himself as a highly skilled and sought-after professional in the realm of music mixing and mastering. We asked Sina some red hot Qs to get a behind the scenes look at the world and inspiration behind their work.

Tea or coffee?
My parents are insane tea drinkers, at least 5 pots a day! But personally I'm a morning coffee dude, home espresso machine during lockdown was the boss move!

Sunrise or sunset?
Sunrise has good memories of young times partying with friends or all night DJ/music sessions. I love that spiritual wonder of the morning session but these days I'd super value a good healthy sleep schedule. 

What scares you? 
Not accomplishing career goals, health concerns, family fears, loved ones anxiety, existential dread, financial stress, running out of time, just the usual for everyone I guess. 

Sina and his fam on the gram.

When did you start making music and producing?
I've been making music and playing in bands and programming since the age of like 11. Before then I was doing musical theatre in years five and six. I've been performing rock in the underground scenes since I was 13. 

What inspires you and your work?
I have quite a multicultural perspective on things, so I feel like that adds a dimension of oxymoronic depth to what I reference or how I twist it in my music. I'm inspired to stay consistent and have a graceful career like an athlete, there's something truly viscerally rewarding in the full physical dedication to the performance craft.

What’s your fav thing about Nauti?
Nauti is such a cool space and community! Having a room here for the past year has been such a solid boost to my craft and career. I was able to truly apply myself in a professional capacity and that had been a lifetime goal for so long. 

Sina and collaborators vibing Nauti Studios Sydney.

What artwork / project are you most proud of?
I would say my latest song called Come Alive (Mailer Daemon). It's a culmination of my new rock hip hop oasis anime type beat breaks crossover vibe that I developed during lockdown and it's great to have it out.

What are you working on at the moment?
Currently I'm working on the rest of the song series, of about 40 songs and I'm about 10 deep. I'm finding that balance of serving clients and dropping my own stuff, but I've got another 10 lined up ready to be rolling out this year. 

If you weren't doing this, what would you be doing? 
I dunno this is kinda what I do and I guess it's my personality too, but I dunno maybe design, concepting, game design, visual, video directing. That's kinda what I do anyways, heh.

Cover of Sina’s instrumental mix ‘Come Alive’ released on instagram. To hear some check it out here.

Have any artists changed the way you see the world?
Art translates the sublime and is the soundtrack to your life. So yeah, imagine your favourite movie but without music. The 80s taught me about songs and how they can interact with sonics, the 90s was kinda the power of the band, 00s was like the power of production, 10s was kinda like a combination of all the above. Now it's kinda like back to basics vibes. 

If you could have dinner with anyone dead or alive, who would it be?
Well I think I'd like to have dinner with someone who is alive, I think dinner with a dead person would be pretty gross. Lol, ok so alive person, let's go with my wife and maybe someone we admire from a TV show or something like that. 

Sina, aka Mailer Daemon, and 'Mixed by Sina’

A glimpse inside Sina’s productivity station at Nauti Studios in Sydney.

To keep in touch and up to date with Sina and their work you can follow
them on instagram, check out their website here, or to hear Sina’s latest track click here.

If you want a creative space of your own at Nauti Studios like Sina,
by getting in touch by clicking here.

There Is No Hope, Except For Us. On 'Antarctica: All to Lose' by Lea Kannar-Lichtenberger

At Nauti Studios we love all things creative and all things sustainability. We especially love creative projects addressing environmental and sustainability issues.

Nauti Sailor Sabrina spoke to artist Lea Kannar-Lichtenberger about their exhibition Antarctica: All to Lose now showing at the Chrissie Cotter Gallery. For the past decade Kannar-Lichtenberger has completed research residencies in remote places including the Galapagos Islands, Faroe Islands and Deception Island in Antarctica. Antarctica: All to Lose presents works developed during a 2017 residency at Deception Island. Read all about it here.

Lea Kannar-Lichtenberger, Elemental Obsolescence, 2018, pigment print on archival photo paper, 80 x 120cm

There Is No Hope, Except For Us

Antarctica: All to Lose by Lea Kannar-Lichtenberger

For the past decade artist Lea Kannar-Lichtenberger has completed research residencies in remote places including the Galapagos Islands, Faroe Islands and Deception Island in Antarctica. Now showing at the Chrissie Cotter Gallery Antarctica: All to Lose presents works developed during a 2017 residency at Deception Island. It examines the bleak impact of tourism on fragile environments and its link to the legacy of colonial exploration. For many, Anatartica will remain remote, seen only through the lens of a camera, and as Kannar-Lichtenberger told me Antarctica: All to Lose proposes that perhaps it should remain that way.

Lea Kannar-Lichtenberger, Livingston I Presume II, 2017, deep etched pigment print on archival photographic paper, 110 x 200cm 

““We want to go see that leopard or lion, and we will damage what we can to get there, to get that photograph. I think that the photograph is becoming the double-edged sword. It’s one way to archive but it’s also becoming the problem. [...] These works are about the archiving of an item, of an object, of a space, of a place. Is that the answer? Do we just archive it? We’re archiving seeds, we’re archiving species, does that mean those things have a future? Or are we only preserving for our own gratification?” ”

— Lea Kannar-Lichtenberger

Lea Kannar-Lichtenberger, Livingston I presume IV-XII, 2017, 9 x deep etched pigment print on archival photographic paper, 36 x 26cm

Antarctica: All to Lose evokes the now canonic words from Roland Barthes’ 1980 text Camera Lucida: Reflections on Photography. Here he says “what the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially.” The exhibition opens with Livingston I Presume II (2023) an arctic landscape seen through the lens of a telescope. As Kannar-Lichtenberger told me: “if you were an explorer, this is how you’d first come across a new land”. Here we see a reimagined Antarctica, seemingly unscathed by Western culture, before the effects of industrialisation. What Livingston I Presume II reproduces to infinity is an untouched Antarctica, an Antarctica that has already been lost.

Lea Kannar-Lichtenberger, Prozaic, 2023, archival pigment print on Ilford galerie smooth pearl, 35 x 45cm

This is followed by a series of photographs that document Deception Island today. We see whale bones scattered upon volcanic black sand, an abandoned 20th century boat and relics of industrialisation litter the landscape. These are the first of many ‘memento moris’ to be found here. In Unhappy Feet I & II (2018) we see remnants of the corpse of a penguin imprinted in plastic. Upon ingesting a net that held fish, this penguin was mummified from the inside out. This work documents the grim fossil etched into plastic, the fatal moment frozen in time. Easily mistaken for a precious stone or ancient artefact, this memento mori speaks in the language of museology and its inception in colonial exploration. Its green and blue hues are reminiscent of faience, a ground quartz used by the ancient Egyptians. Unhappy Feet I & II asks, are these our future relics? Will these become rare objects held in museums, or so commonplace they litter our beaches? One thing is certain, plastic is an inevitable part of the legacy of the Anthropocene.

Lea Kannar-Lichtenberger, Unhappy Feet I & II, 2018, deep etched pigment print on archival photographic paper, 200 x 110cm

In Camera Lucida: Reflections on Photography Bathes says:

““For me the noise of Time is not sad: I love bells, clocks, watches — and I recall that at first photographic implements were related to techniques of cabinetmaking and the machinery of precision: cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood. ””

For me, the noise of Time is an alarm. In Dissipation_II (2023) a ghostly image of Antarctica is shown on voile, a sheer fabric fraying at the edges. This work asks, has the unravelling just begun? Or is this the moment of no return, as it all becomes undone? It conjures the ancient Fates of Greek mythology, who were personified as three women spinning the threads of human destiny. Yet there is an inherent materiality to Kannar-Lichtenberger work, here the medium is the message. Like a memento mori these traces are material, shockingly tangible and painfully real.

Lea Kannar-Lichtenberger, Dissipation_VI, 2018, 5 x Livingston Island Glacier dye-sublimate on Voile, 450 x 200cm

Lea Kannar-Lichtenberger, Dissipation_II (Pentaptych), 2023, installation view 5 x Livingston Island Glacier dye-sublimate on Voile, 450 x 200cm

I asked Kannar-Lichtenberger whether we still have all to lose, or whether it is already lost. In response, she shared a quote from Jonathan Franzen’s 2019 essay What If We Stopped Pretending? In it he says:

“There is infinite hope,” Franzen tells us, “only not for us.” This is a fittingly mystical epigram from a writer whose characters strive for ostensibly reachable goals and, tragically or amusingly, never manage to get any closer to them. But it seems to me, in our rapidly darkening world, that the converse of Kafka’s quip is equally true: “There is no hope, except for us.””

Here I recall that the memento mori acts as a reminder. That this present moment of crisis may only happen once, but perhaps more significantly, the moment for action may only happen once. This threshold, or new frontier, this fleeting opportunity for a correction to shift our legacy, may only occur once. There really is no hope, except for us.

Lea Kannar-Lichtenberger, Legacy II - Living in Carnage, 2023, archival pigment print on Ilford galerie smooth pearl, 35 x 45cm

Lea Kannar-Lichtenberger, Legacy, 2023, archival pigment print on Ilford galerie smooth pearl, 35 x 45cm

Antarctica: All to Lose is showing at Chrissie Cotter Gallery until 8th October 2023
Artist talk: Saturday 7th & Sunday 8th of October from 12pm – 3pm

Artist with Dissipation

Lea Kannar-Lichtenberger during her 2017 expedition to Antarctica for her research on small islands and isolated places, the inspiration behind her exhibition ‘Antarctica: All to Lose’.

For more information on Lea Kannar-Lichtenberger
Instagram: @leakannarlichtenberger
Website: leakannar.com

This article was written by Nauti Sailor Sabrina Sokalik, at Nauti Studios Sydney.
If you would like to bask in Sabrina’s glory and come work at Nauti Studios,
get in contact by clicking here.

A Conversation from the Swamp Residencies with Dr Cheryle Yin Lo

At Nauti Studios we love all things creative, all things nature, and all things sustainability.

Produced in association with the Blue Mountains World Heritage Institute, the year long project affectionately named the Swamp Residencies brings together artists, ecologists and bush regeneration experts for ‘creative swamp research’ in  Gundungarra and Dharag country. Exhibited at Articulate Project Space Immersion: Conversations from the Swamp Residencies presents works by the twelve participating artists including Dr Cheryle Yin Lo, an interdisciplinary artist and regular workshop facilitator at Nauti Studios in Hazelbrook. Soon after opening in late August I spoke with Cheryle about their experience.

Cheryle Yin Lo, Below The Surface and Through the Ripples, 2023. Digital prints on overlays and acrylic disks in small wooden stands.

Cheryle Yin Lo, Below The Surface and Through the Ripples, 2023. Digital prints on overlays and acrylic disks in small wooden stands.

“I used to work with the Blue Mountains World Heritage Institute. I was the first Cultural Development worker when the Blue Mountains World Heritage started in 2006 in Katoomba. I did my doctorate with them, so my interest is actually in the way community arts can be used for stimulating community participation and environmental stewardship. This is an experiment for me as an artist to see how we can share with the general community more about the complexity of the swamp and their role.”

“The driving force for the exhibition came from the artists, there were a few of us who also worked together in the Bush Recovery Project last year. We enjoyed working together and someone came up with the idea of swamps and how important they are in our location as a world heritage area. But also they’re importance as a filter for healthy water systems for drinking and our sense of living.”

Cheryle Yin Lo, Deep Below the Surface, 2023.
Photomedia and digital prints on hahnemuhle paper.

Up close with Cheryle Yin Lo’s, Deep Below the Surface, 2023.
Photomedia and digital prints on hahnemuhle paper.

“Because some of the artists are from the Upper Mountains and I live in Hazelbrook, I really wanted to concentrate on the mid-mountains in particular. It was a good introduction because I've lived there for nearly 20 years and I hadn't really been to any swamps. We had been working closely with some of the bush care officers from the Blue Mountains City Council. I spent time with the Rocklea Swampcare, Bushcare Blue Mountains Group and my work is based on my experience with them, my observations, experience [...] and what I learnt.”

The wonderful Dr Cheryle Yin Lo!

“My artwork Below The Surface and Through the Ripples reflect my observations: how the swamp is made up of so many different layers of natural debris and when we entered the swamps we had to actually clear some of the weeds. They’re like tubers, they just kept going and going. You feel overwhelmed. That’s what my digital prints are about. Some of the plants and weeds you find there and how they’ve proliferated, they’re in abundance. You try to intervene, to control a certain area to make sure that they don’t stop the flow and filtration of the water. The work is about our relationship with the physical environment as humans and understanding that basic principle.”

Scott Marr, Sentimental Ghosts, 2023.

“When I spoke to the bushkeeper who’d been going for over a decade to one site to clear it, they said it’s more about intervening with the disruptors and persisters, they didn’t like to say “we’re gonna kill the weeds”. It was nice to see the way they work with and understand nature. To manage it rather than controlling it, rather than clearing it in a militant way. There’s sophistication and understanding, when you know how to do it sensitively in that environment. Their view of the world is inspiring. It was interesting talking to Emma Magenta about it. We can get angry as artists, to polarise and be binary, but she said she wanted to come from a very different kind of place. It’s like uncovering the layers of an onion, uncovering knowledge, while always being curious about learning more. [...] It’s about combined knowledge making, how we hold space to understand other people's perspectives or the way that other people interact with spaces.”

Wendy Tsai, Iron Oxidizing Bacteria #1, 2023.

I asked Cheryle about her thoughts on the role of the artist and she told me:

“I talked about disruptors and sometimes we’re not screaming and shouting with placards but we might be the quiet disruptors. But even as a quiet disruptor you want to have impact and you want to be effective. That’s always the challenge of the artist. We feel like we have a message to share, but whether that actually translates to the viewer is something that you need to be exploring as a concept generally. How much can you share? How much can you connect people, even on a very small point in which they shift their thinking or their actions? How do you make them feel more curious?”

Ann Niddrie, Glimpses of an upland swamp, Blackheath, 2023.

Immersion: Conversations from the Swamp Residencies was exhibited at Articulate Project Space featuring Ann Niddrie, Bryden Williams, Caroline Ginunis, Chia Moan, Emma Magenta, Fiona Vaughan, Freedom Wilson, Jon Flood, Justin Morrissey, Kate Reid, Rani Brown, Scott Marr, Wendy Tsai, Jon Macleod, Anne Campbell and was co-curated by Freedom Wilson and Justin Morrissey. 

For more information about Creative Traveller workshops held by Cheryle Yin Lo
click here.

To hold your creative workshops at Nauti Studios like Cheryle,
get in touch with the Nauti team here.

Freedom Wilson, Elevated Swamp Regrowth beside the Diamond Falls, 2023.

The Time Engine: A Decade is a Heartbeat, An Interview with Adrián Villar Rojas

At Nauti Studios we love all things creative, all things nature, all things sustainability, and discussions about climate crisis. We especially love creative work exploring themes of nature AND sustainability AND climate crisis. Nauti Sailor Sabrina has done a deep dive on all of the above.

Installation view of Adrián Villar Rojas ‘Mi familia muerta’ (My dead family) 2009 at Ushuaia´s End of The World Biennial, 2nd Edition. Photo © Adrián Villar Rojas

The Time Engine: A Decade is a Heartbeat

Remembering my interview with
Adrián Villar Rojas

In 2012 I found myself in Buenos Aires, Argentina, interviewing the now internationally acclaimed artist Adrián Villar Rojas. I asked him about ‘My Dead Family’, an installation exhibited in the Biennale of the End of the World held in Ushuaia, Argentina in 2009. At the time of our interview the twenty-seven-metre long whale had remained in the Yatana forest for three years, and Villar Rojas told me:

““Recently I received an email saying that they will have to tear the thing down since it’s been ruined and destroyed. It was basically left to die, to decompose as a victim of that other sculptural force that is nature.” ”

— Adrián Villar Rojas

Installation view of Adrián Villar Rojas ‘Mi familia muerta’ (My dead family) 2009 at Ushuaia´s End of The World Biennial, 2nd Edition. Photo © Adrián Villar Rojas

A decade later, ‘The End of Imagination’ was commissioned to inaugurate the opening of the Tank, as part of the Sydney Modern expansion of the Art Gallery of New South Wales, in my hometown of Sydney. For this work Villar Rojas and his team created modelling software designed to simulate the effects of virtual environments on sculptural objects over time. They called this software the Time Engine, and the 3D models it generated became the blueprint for the haunting structures of ‘The End of Imagination’. In these objects we can observe “that other sculptural force that is nature” accelerated. Ten years had passed, but these artificial ruins were both brand new and ancient. 

For the site-specific installation Villar Rojas first visited the Tank in 2018 while it was still partly flooded. He describes this visit:

““The space was raw, damp, cold and with a profound echo and reverberation. We used hand-held torches to explore, creating incredible shadows as our lights hit over a hundred columns. It reminded me of being in a pitch-black forest, where forms and shapes only become visible within the single, moving light source of a torch. It was magic*.” ”

— Adrián Villar Rojas

Upon entering the Tank in 2023 a decade felt like a heartbeat. As a faded memory of a whale corpse beached in a forest in Argentina became linked, almost magically, to a subterranean man-made forest in Australia. While clearly separated by time-space, these places were now connected, but only in my memory. This is part of the poetry of Villar Rojas’ work. Temporalities collide, as a confusing world of associations both cultural and personal bind together. The melancholy and wonder of Villar Rojas’ work reside here. Human memory is a chaotic cabinet of curiosities, fallible, sentimental and of course hopelessly impermanent.

When I asked Villar Rojas “how would you describe what it is that you do?” he replied:

““I build monuments because I’m not ready to lose anything.””

— Adrián Villar Rojas

Installation view of Adrián Villar Rojas 'The End of Imagination' 2022 in the Tank at the Art Gallery of New South Wales © Adrián Villar Rojas, photo © Jörg Baumann

As lifeless as these objects may appear, they pulse with emotion. Constructed of endless organic and inorganic materials including metals, plastics, concrete, glass, salt, wax, resin and wood, they resemble debris piles woven of infinite and seemingly unconnected pieces. Perhaps drugged up from the sea or adrift in space, but certainly out of place, even lost. I recall Villar Rojas saying in an interview all those years ago:

““I’d like emotional flesh in my work. Enough with cool form! I’d like to show each square centimetre of sadness, developed in a world woven out of infinite and exasperated relations**.””

— Adrián Villar Rojas

While cast in an almost chiaroscuro light, these structures appear to take one form, but reveal something unexpected when illuminated. The roving lights that flock together with audible synchronicity feel anthropomorphic. Programmed machines perhaps or bioluminescent sea creatures, they are adorably animated and quietly menacing. As if they both see and give sight. 

However, in the darkness of the Tank their presence is welcome. In their absence we are left squinting and projecting onto these enormous objects, what we think we see. What looks like oxidised steel in the half light, appears more like a once thriving bee hive when lit. The metamorphic rock stacked upon black magma bound together by some unknown tectonic force, when illuminated appears man-made. Sedimentary and crystalline rock glisten like dewy flesh, upon which tangled cables appear carnal, like arteries. Fossilised invertebrates evoke fear and curiosity in equal measure. In the half light one wonders, are these terrestrial creatures? A bird's nest made of steel reminds us of nature's prevailing ingenuity and mushrooms bloom throughout. Amongst the ruins signs of life persist.

Installation view of Adrián Villar Rojas 'The End of Imagination' 2022 in the Tank at the Art Gallery of New South Wales © Adrián Villar Rojas, photo © Jörg Baumann

In ‘The End of Imagination’ symbols traditionally associated with enduring dualities like past and present, natural and artificial, or life and death are enmeshed into allusive heaps. The mushroom brings our attention to another duality. Villar Rojas’ work is characterised by monumental scale, so the tiny mushrooms held my attention. The now famous biologist Paul Stamets says that “fungi are the interface organisms between life and death***.” Through literal enmeshment mushrooms recycle death into life. Almost like magic, a precious alchemy exists in which life remerges, but always in connection to what came before. An eternal symbiosis, an inescapable ecology of seemingly infinite and unconnected relations. Upon seeing the ‘The End of Imagination’ I felt that melancholy of Villar Rojas' work. I was older and my future requiem echoed in time-space a little louder, but for nature a decade is a heartbeat. 

Adrián Villar Rojas, 2013 Photo © Doris Kessler

This article was written by Nauti Sailor Sabrina Sokalik, at Nauti Studios Sydney.
If you would like to bask in Sabrina’s glory and come work at Nauti Studios,
get in contact by clicking here.

Notes:
*Paton, J.P. (2022) Every Sculpture is Many Sculptures, Art Gallery of NSW. Available at: https://www.artgallery.nsw.gov.au/art/watch-listen-read/read/every-sculpture-is-many-sculptures/ (Accessed: 05 May 2023).
**Filipovic, E. (2010) Creamier: Contemporary Art in Culture. Phaidon.
***Stamets, P. (2005) Mycelium Running: How Mushrooms Can Help Save the World. Ten Speed Press.

Unconscious Automatic Angels: An Interview with Artist, Therapist and Academic Paul Rhodes

Paul Rhodes is an artist, therapist and academic
working from Nauti Studios in Sydney. 

We asked Paul some red hot Qs to get a behind the scenes look at
the world and inspiration behind their work,
as well as their upcoming exhibition Fallen Angels.

A great selfie from Paul, of them in their element, in their studio at Nauti Studios Sydney.

Tea or coffee? 

Coffee, including instant. 

Sunrise or sunset? 

Sunrise, I get up at 4:00am every morning. 

What scares you? 

A few things; being bored, not achieving something everyday, people who follow the crowd, not having time to think and reflect. 

One of Paul’s works, made in their studio at Nauti Studios Sydney.

When did you start making art? 

I started art as a teenager and did a lot of drawing right up to 21 years old. Then stopped and after some burn-out as a Psychologist went to art school at 28, but then stopped again right until COVID at 55 years old. I've been making up time and now paint on average three hours a day. 

What inspires you and your work? 

Mostly the internal life, images, emotions, voices, landscapes of the unconscious. I do my work automatically, without pre-thinking and so it's always a surprise what comes out. 

What’s your fav thing about Nauti? 

The family of creatives. It's been amazing meeting so many new friends with so much humor and support for art-making. 

Another of Paul’s works, made in their studio at Nauti Studios Sydney.

What artwork or project are you most proud of? 

I'm super proud of my first real solo show called Fallen Angels, opening later this month on 22nd July at Mothership Studios . It's all about how we can be liberated when we get in touch with the darker parts of ourselves.

What are you working on at the moment? 

I am always a show ahead and the next will be called Bridge of Sighs. All religious images to explore spirituality (without religion).

If you weren't an artist, therapist or academic what would you be? 

I would own a record shop selling classic rock, jazz fusion and metal. 

Another of Paul’s works, made in their studio at Nauti Studios Sydney.

Have any artists changed the way you see the world?

Dali, Klee, Chagall, Ernst...all the surrealists and lovers of the unconscious. 

If you could have dinner with anyone dead or alive, who would it be?  

Er...Thomas Merton, monk and mystic.

A glimpse inside Paul’s creative powerhouse studio at Nauti in Sydney.

To keep in touch and up to date with Paul Rhodes and their work you can follow
them on instagram, or come to their upcoming show:

Fallen Angels
Saturday 22 July to Friday 28 July 5pm to 8pm
Opening Night: Saturday 22 July from 4:30pm to 8:30pm
At Mothership Studios in Marrickville (click here for directions)
Click here for more exhibition information.

You can join Paul working at Nauti Studios
by getting in touch by clicking here.

Balance, Diversity, and Navigation: An Interview with Town Planner Ryan Gill

Ryan is an extremely lovely and knowledgeable town planner,
running his biz ‘Balance Planing Services’ from his space at Nauti Studios in the Blue Mountains.

We asked Ryan some red hot Qs to get a behind the scenes look at the world,
and inspirations behind him and his amazing work.

Tea or coffee?
Coffee in the AM. Tea in the PM.

Sunrise or sunset?
Sunrise!

What scares you?
Tight spaces... but specifically being underground and stuck in a tight space. I think caving is for insane people.

When did you start working in town planning?
Second year of university... so ~2006.

What do you like most about your work?
I like that my days and experiences are diverse. I work across various sectors (e.g. residential, industrial, commercial, health... etc.) and on projects ranging in scale and complexity. I like that I'm typically part of a project team consisting of interesting people with various skill sets and expertise (e.g. design, engineering, ecology...).
It's rewarding helping clients navigate the (complex and confusing) planning approval process.  

What’s your fav thing about Nauti?
That it's not my spare bedroom! Having physical separation from home has been awesome. Sharing a space with lots of interesting people is a bonus. I like that the place is relaxed and the other sailors are grounded. It's a far cry from the corporate office environments I've operated in previously! 

What is the project you are most proud of?
It's the small projects for the "mum and dad" clients that I find are often the most rewarding. The outcome is deeply personal for them - it may be an extension to a new family home, or a shop fit-out for a new small business - and obtaining planning approval can be overwhelming and exhausting. I feel a sense of pride when we're able to successfully navigate them through the journey. 

What are you working on at the moment?
Lots! Mostly smaller residential projects across the state. A few local "seniors housing" jobs. A cool holiday cabin proposal in the Blue Mountains. 

If you weren't a town planner, what would you be??
Probably a similar discipline in the same industry... like an architect. 

If you could have dinner with anyone dead or alive, who would it be?
I reckon it'd be interesting to have dinner with a young version of myself.
I'd have some good advice for that guy. 

To get in touch with Ryan and talk about some projects,
you can send him a message here.

To join Ryan and come aboard the crew working at Nauti Studios,
get in touch here.

Patterns in Nature, Vintage Fabrics and Spiritually Confused Scandinavians: An Interview with Freddie a.k.a Lichen

Freddie is a beautiful soul,
and talented clothing label designer and founder of ‘Lichen’,
based at Nauti Studios in Sydney.

We asked Freddie some red hot Qs to get a behind the scenes look at the world,
and inspirations behind them and their amazing work.

Freddie modelling some of their handmade clothing at Nauti Studios.

A beautiful garment made by hand by Freddie at Nauti.

Tea or coffee?
Coffee, ad libitum.

Sunrise or sunset?
Sunrise in the city, sunset in the bush.

What scares you?
The thought of going blind, either by a freak accident or with age. I'm sure I share that with a lot of people who likewise base their purpose on this planet around visual art.

A beautiful garment made by hand by Freddie at Nauti.

A glimpse up close of all the beautiful vintage and sustainable fabrics Freddie uses.

When did you start making clothes?
During the first lockdown. I've always had a sewing machine and had previously had short stints of making bikinis from second-hand men's shirts and taught myself to quilt, but the lockdown gave me the opportunity to invest solid time into learning how to make garments.

What inspires you and your work?
The name I chose for my label, Lichen, sums it up well. I've always been fascinated by patterns in nature, in particular repeated structures and fractal formations in seemingly order-less natural phenomenon. I began paying attention to the lichen on the bark and stones of the dense forests of the UK on a trip a few years ago, and I've since tried to echo those patterns on the fabric I use for my garments, seeing the wearer of the garment almost like a lichen-clad tree.

What’s your fav thing about Nauti?
I'm struggling to not sound cliché here, but I honestly can't think of a single thing that isn't my fave thing about Nauti. Six months in and I'm still excited every morning I enter that beautiful space. It continues to be a warm and encouraging place to create from amongst an inspiring group of studio neighbours.

More beautiful garments made by hand by Freddie at Nauti.

Rad selection of bags made by hand by Freddie at Nauti.

What is the item of clothing you are most proud of?
That would have to be the collection of skirts I made during my first few weeks at Nauti. I had just returned from a trip back to Denmark to visit my family and had collected half a suitcase full of vintage Scandinavian fabrics. For weeks I spent 10 hours a day sewing these pieces, which were incredibly nostalgic and held a lot of personal meaning to me.

What are you working on at the moment?
At the moment I am in full swing sewing custom pieces commissioned by customers, using bamboo fabric.

If you weren't a fashion designer, what would you be?
I was on the path to becoming a certified Naturopath before I started Lichen, so realistically that is probably where life would have taken me. I've also always fantasised about baking cakes for a living. I can't deny that I often joke with friends about becoming a professional beat-boxer though (note: I have never even attempted to beat-box).

Rad Lichen hoodies made by hand by Freddie.

Awesome pants made by hand by Freddie at Nauti.

Have any artists changed the way you see the world?
Two come to mind, the first being the 19th century abstract painter Hilma Af Klint. I recently did a deep dive into her work and her life and was thrilled to find another spiritually confused female Scandinavian artist. Her paintings are mesmerizing. The second artist would have to be Vivienne Westwood. With no formal training, she created a job and a platform for herself and successfully wove politics and activism into her garment creation.

If you could have dinner with anyone dead or alive, who would it be?
The two mentioned above. Perhaps balanced with Steve-O from Jackass because I do love a good laugh.

A sneak peak inside Freddie’s creative space at Nauti Studios in Sydney.

To keep in touch and up to date with Freddie and their work you can follow on
instagram, or request your own custom clothes on their website here.

You can join Freddie working at Nauti Studios by getting in touch here.

Art, Psychology, and All That's in Between: An Interview with Michelle Genders

Michelle is a wonderful artist and psychologist,
based at Nauti Studios in the Blue Mountains.

We asked Michelle some red hot Qs to get a behind the scenes look at the world,
and inspirations behind her and her amazing work.

A bird’s eye view of Michelle in her space at Nauti Studios Blue Mountains.

Mindful art by Michelle Genders.

Mindful art by Michelle Genders.

Tea or coffee?
Both – I’ve been really into “dirty chai” (coffee shot plus spices!) lately – Black Cockatoo in Lawson do a great one.

Sunrise or sunset?
Both – I love the quality of the light during these two golden hours of the day and the sorts of adventures that one could be having at those times. For example, at dawn you could be getting off the overnight train in a new place (as we did once when travelling in India) and at dusk you could be heading home from busy day in the city with a view out the window of acres of forest (as I often do while living the Blue Mountains).

What scares you?
As a person with the traits of ‘Sensory Processing Sensitivity’ and ‘Hyperphantasia’, I have always been pretty sensitive to images in films that many people find funny or easy to forget but I find terrifying and can’t get out of my minds eye. When I was a kid, these included ‘Ghostbusters’, ‘Gremlins’, ‘Goonies’, ‘Indiana Jones’, ‘Little Shop of Horrors’, ‘Neverending Story’, ‘The Dark Crystal’. Having said that, I also have the trait of ‘High Sensation Seeking’ so I also kinda like the feeling of being out of my comfort zone enough to be a little bit scared!

A beautiful nature installation series by Michelle, using found materials and “mindfully selecting materials from the immediate environment and installing them in a meaningful site”.

The installation out front of Nauti Studios Blue Mountains! So pretty!!!

When did you start making art?
One of my first memories is drawing, painting and making craft with my Nan in her tiny art studio that overlooked Tuggerah Lake. We spent a lot of time there once she retired from teaching and devoted herself to being an artist. We also went to workshops and exhibitions as part of the ‘Tuggerah Lakes Art Society’ together when I was a child. I also remember my great Aunty Myrtle teaching me how to knit and crochet while the 1988 Olympics was on TV in the background.

What inspires you and your work?
I’m a creative contemplative artist in that I make art as a meditation, as a contemplation, an act of kindness, as a prayer, and as a way of investigating and understanding my own nature and the nature of the cosmos. And just for the fun and joy of it!

What’s your fav thing about Nauti?
The sense of space and light in my studio/gallery is amazing. It is my special space to escape to!
The people, plants and pets are key as well. Everyone is so creative, down to earth and up for a laugh. I so enjoying seeing the varied greens of the plants as they unfurl and extend. It is also lovely to see the cats settle in and grow into their own personalities. There are many curious things happening from here and I feel lucky to be part of this unique space!

The front page of a drawing Michelle did for ‘dyst’ journal. This was drawn with her right hand using a mechanical pencil.

The back page of a drawing Michelle did for ‘dyst’ journal. This was drawn with her left hand using cheap markers.

Michelle’s work on the cover of 'dyst' journal. A great journal produced by Rosey Ravelston bookshop, who are also based in Nauti Studios in the Blue Mountains. For this cover Michelle combined her two drawings as “when I placed the right page on top of the left, as an action to integrate my right brain and left brain, to integrate practicing art and practicing psychology“.

What is the artwork you are most proud of?
This year, I was officially a cover star! (See images just above)

My work was included on the cover of 'dyst' journal (produced by fellow studio mates Rosey Ravelston bookshop) amongst some quality dystopian and political literature and see more of my art inside. The cover drawing was created in 2020 during my daily art making project with the theme "What inspires me?" during the subtheme of "What inspires bee?". The back page (yellow) was drawn with my left hand using cheap markers. The front page (pink) was drawn with my right hand using a mechanical pencil.

I was feeling particularly split that day between my fascination with art making and the skills I was developing as a psychologist. When I placed the right page on top of the left, as an action to integrate my right brain and left brain, to integrate practicing art and practicing psychology, a shift did take place.

This, amongst other practices and investigations, did help me to figure out the undercurrent that underlies both interests as well as accept the complexity of these two expressions of self.

I loved seeing this work placed on the cover of 'dyst' so that it's meaning expands further in line with the theme of this literary journal. I was even more excited to hear that it is the first edition of ‘dyst’ that has completely sold out!

What are you working on at the moment?
I am organising a series of exhibitions within my studio as part of a tiny gallery called ‘Nix’ .The first exhibition 'The Deep Scarlet Red Project' has been successfully completed. The second exhibition called 'One's Own Abode' has just opened and is going really well. It is so special to see the art and poetry honoured by having them up on the walls and available for viewing.

The exhibition is open 10am to 4pm on select weekends:
Dec 10, 11
Dec 17, 18
Jan 6, 7

We have so far covered the red and orange 'chakras' and will be continuing up the body through all of these energy centres with exhibitions in 2023 as follows:
Exhibition 3: For the bees (yellow): January
Exhibition 4: Halcyon days (green): March
Exhibition 5: Big as life (blue): May
Exhibition 6: Luck was on my side (indigo): July
Exhibition 7: A thousand petals (violet): August

I welcome people into the gallery while I'm minding it. We can also arrange an online tour via Zoom - just send me a message.

Drawing by Michelle, using tiny post it notes and bottles of ink in response to shape prompts.

By Michelle Genders.

Michelle’s entry for a drawing competition with the theme of ‘Regenesis’.
Michelle said “Regenesis requires both an inner spiritual transformation of how we see ourselves, and an outer transformation in how we act. It builds on the regenerative agricultural movement, and the move to a regenerative economic and societal frameworks to meet the challenges of our times and is aligned with Council's Planetary Health Initiative.”

If you weren't an artist & psychologist, what would you be?
Ha this is a funny question because - I came to the conclusion in 2021 that as hard and complex as it is, I HAD to be both an artist and psychologist! I tried doing just one of them at a time but in the end, they are both important parts of what I appreciate about and what I am able to offer to the world.

Sometimes I’ve felt like my brain is going to explode trying to juggle these two aspects of what I have been fascinated with throughout my life. But my heart and curiosity is big enough to continue on with both and to know that I will never be bored and will always be developing this way.

It might seem a bit whacky to be keeping up 2 x pretty full on careers but I’m starting to get clearer on which parts of each industry I’m most passionate about and want to put time and energy into. How one part feeds the other part, and vice versa.

Having said that, if I had the courage and charisma, it would be fabulous be a rock star who can sing and express a story in front of huge crowds. Maybe one day – because I do continue to develop my voice by being a part of community choirs and other singing projects.

Have any artists changed the way you see the world?
Some of my favourite artists who are very well-known include:
Georgia O'Keeffe
Bridget Riley
Hilma Af Kilmt
Patricia Coleman-Smith

And, because I majored in the area of ‘contemporary jewellery and object’ at art school, I have a special interest in artists who make in this area including:
Helen Britton
Julie Paterson
Lisa Walker
Margaret West

Also, my partner Robin Hungerford is an incredible artist. Seeing the process of how his work develops and progresses is a great joy.

Additionally, I am particularly influenced by my teacher, mentor and friend John F Simon Jr who has been drawing every day since the 90s, and Noah and Mica Scalin who run the daily creative challenge called ‘Creative Sprint’.

But, I have learnt something from every one of my teachers and peers including Joyce Hinterding, Nick Bastin, Oliver Smith, Karin Findeis, Bridie Lander, Melinda Young, Evan Wills, Deborah Haynes, Kelly Heaton, Lisa Cordero etc etc ! (there are so many people I know who put so much into the art they make that I would like to honour and draw attention to here) 😊

If you could have dinner with anyone dead or alive, who would it be?
Elvis Presley and I have similar taste in food (hahaha!) and I actually wouldn’t mind having a go at being his therapist AND collaborating with him to make something spectacular.

Along similar lines, it would be so fun to dine with all of my favourite female singers – KT Tunstall, Joan as Policewoman, Roisin Murphy and Ani DiFranco – for one evening. They are all incredibly smart, funny and creative women – so I would probably a little star struck! I imagine we could go to one of my favourite restaurants in Surry Hills – Maya Indian.

I also have a soft spot for actor Gael García Bernal (from for example ‘Mosart in the Jungle’) because he seems like a very kind and thoughtful person and I think maybe I could become part of what I imagine is his big extended family.

Michelle hanging work in her space at Nauti Studios Blue Mountains.

To keep in touch, and up to date with Michelle’s work you can give her a follow on
instagram, or on Facebook here.

You can join Michelle working at Nauti Studios by getting in touch here.

Dappled Skies, and Dreamy Designs: An Interview with Designer and Art Director Chloe McDougall

Chloe is an incredibly talented designer, creative and art director
based at Nauti Studios in Sydney.

We asked Chloe some red hot Qs to get a behind the scenes look at the world,
and inspirations behind her and her amazing work.

Branding and business cards for Space Gorilla production studio, created by Chloe McDougall.

Image designed and created by Chloe McDougall

Image designed and created by Chloe McDougall

Tea or coffee?
Coffee 100% I’m not much of a morning person so I need it to function at the start of the day.

Sunrise or sunset?
Always appreciate a nice dappled pink and purple sunset

What scares you?
Cockroaches. They always seem to fly at you. Most other insects I haven’t got an issue with, but living in share houses close to restaurants in my early 20’s scarred me for life.

Temporary tattoo designs for TMOD's 2014 range of stationary. A collaboration by Zoë Wightman, Fran Gross and Chloe McDougall.

Illustration and pun work for the Veggie Patch food truck's social media account, by Chloe McDougall.

When did you start designing?
I was always a very creative person growing up so new I wanted to do art in some form as a career. I studied fine arts and architecture but found that graphic design was the perfect fit for me.

What inspires you and your work?
I love collecting old documents, paper textures and really love old pulp comics.

What’s your fav thing about Nauti?
The people and vibe. Plus its so beautiful and green. It’s perfectly imperfect!

Designed and made by Chloe McDougall.

An untitled art piece by Chloe McDougall.

Board game design by Chloe McDougall.

What is the work you are most proud of?
Im rarely proud of my work for too long. I always end up wanting to improve it looking back so I’ll skip this one.

What are you working on at the moment?
Many things going at the moment. Making some pitch docs, websites, social media, architecture renders and photo retouching currently.

If you weren't a graphic designer, what would you be?
Something creative, I dabble in many things currently.

Branding for online bespoke clothing store ‘Lamps Knit & Sew’, by Chloe McDougall.

Logo design and satirical fake posters for background gags in SBS Pilot, The Weekend Shift. By Chloe McDougall.

Coasters designed by Chloe McDougall.

Have any artists changed the way you see the world?
During my time interning, I worked in an amazing shared studio in Surry Hills. It had so many designers and artists I was already a fan of… Benja Harney, Elke Kramer, Andrew Fairclough to name a few. It was fan grilling out working there and watching how they worked was a huge inspiration to me.

If you could have dinner with anyone dead or alive, who would it be?
Nothing nicer than having a nice dinner with all the family together.

A peak inside Chloe’s creative studio at Nauti Studios Sydney.

To keep in touch, and up to date with Chloe’s work you can give her a follow on
instagram, or contact her for a job here.

You can join Chloe working at Nauti Studios by getting in touch here.

The Purrrfect Life: An Interview with Adventure Guide and Cat Charity Founder William Skea

Will is an epic adventure guide,
guiding people all overt the world on ice, snow, rock and mountains.
AND
all money he raises through guiding goes directly into
helping cats who are victims of animal cruelty, through his charity
William Skea’s Animal Rescues.

Will and his cat rescue room are at Nauti Studios in the Blue Mountains.

We asked Will some red hot Qs to get a behind the scenes look at the world,
and inspirations behind him and his amazing work.

Rescue kittens Papi and Meatball, enjoying an afternoon nap in Will’s cat rescue room at Nauti Studios in the Blue Mountains.

Tea or coffee?
I don't drink either. Despite being 28, my partner says I have the pallete of a child.
I'd much prefer something sweet like a strawberry milk.

Sunrise or sunset?
Sunrise. One of my favorite moments as a mountain guide is seeing the early sunrises from the summits of the mountains we climb. We usually climb from base camp to the mountain's summit from midnight to sunrise while the snow is hard and avalanche conditions are minimal, then descend down the mountain when the snow is soft enough to walk along but not yet warm enough to be unstable.

What scares you?
Mountain lions, grizzly bears, and moose. These three are more abundant in the Canadian Rockies and Alaska than anywhere else on earth, which is where I'm most often climbing. I've turned around more than a dozen times from seeing one of these guys stalking us on the trail. One of my ice climbing partners once climbed a frozen waterfall in the Canadian Rockies to finish in a grizzly bear's cave and be mauled by it before escaping.

Rescue kitten Felix, happy at home with his new owners after being adopted from William Skea’s Animal Rescues at Nauti Studios Blue Mountains.

Rescue cat Rusty, chillin’ and illin’ in the cat rescue room at Nauti Studios in the Blue Mountains.

When did you start being interested in animal welfare?
I've been running William Skea's Animal Rescues for 2 years now. I was travelling the world as a mountain guide for about 5 years prior and wanted to return to Australia to start doing some good for the world. I began a degree in nursing and joined a stray cat rescue group in Sydney. It was with that cat rescue charity that I discovered they weren't adopting their cats. They were hoarding them in their houses and not treating them, with 100-200 cats per home across several homes. These houses were in terrible conditions. The cats were covered in faeces and urine, sick from undernourishment, and many had chronic diseases being left untreated, such as asthma, cancer, flea anemia, and allergic reactions. I saw cats in dozens of 30x50cm cages ringing the walls and stacked 6-cages high, each with litters of kittens and sick cats inside them with nothing between their cages besides old newspaper. I paused my nursing and resolved to get them out of there, medically treated, and found foster homes to be eventually adopted. I must have rescued over 100 cats before I could get RSPCA to step-in and re-home the rest. Once I finished with them, I moved from one animal cruelty situation to the next, rescuing them, raising money for their medical treatment, finding a foster home for each cat, then eventually seeing them adopted. We've rescued about 300 cats in 2 years this way - from breeders, hoarders, abandoners, street cat poisoners, grey hound racers, and abusers.

What inspires you and your work?
I'm inspired by the cats we rescue. They often come from tragic circumstances and nothing beats seeing them find love again in their new home with their foster carers or adopters. They can be so loving, trusting, and affectionate to us despite years of abuse. They might be reserved and shy when we rescue them, but after some love and time with us, they begin to feel safe and we get to see them play for the first time and their personalities flourish.

What’s your fav thing about Nauti?
I love how friendly and helpful everyone has been to me and my cats since we moved my rescue center here 6-months ago. It is also awesome helping others out on their own cool projects and learning new things about it. For example, Natalie is often renovating the studios and teaching me about carpentry when I help her out.

The recent group of kittens in William Skea’s Animal Rescues’ rescue room at Nauti Studios in the Blue Mountains.

Sox, happy at home, after being adopted from William Skea’s Animal Rescues.

What are you most proud of?
My foster carers and volunteers! Many of our cats couldn't have survived without the. They've opened their hearts to their rescues and often end up falling in love with them and adopting them even if the cats don't want to be pet by humans because of their past traumas. I'm always looking for new fosters to replace them so each cat can get rehabilitated in their own home.

What are you working on at the moment?
I don't have any animal cruelty cases on at the moment, so I collected 4 new cats from people who were intending to surrender them to the pound for various reasons (such as their owners passing away). We are giving them much more love and attention they would receive while in the pound until we find good adopters for them.

If you weren't working in animal welfare and being an adventure guide, what would you do?
I have absolutely no idea. I feel like i'm living my two dream jobs and never imagined anything else. I take people on adventures to raise money for the cats I rescue - I wouldn't do anything else.

Adorable kitten Stuart Little relaxing in the William Skea’s Animal Rescue room, based at Nauti Studios in the Blue Mountains.

Ice Cream, a rescue kitten, hanging out with Nauti based artist Ashlee Bucholtz. Nothing like a break from work with the kittens.

Have any artists changed the way you see the world?
Ben Tibbits is an adventure photographer and mountain guide in Chamonix, France. He inspired me to carry my camera everywhere I go and capture the world for others who can't do those adventures themselves. I love to approach my adventure photography like him - not for myself - but for others.

If you could have dinner with anyone dead or alive, who would it be?
Probably the first cat I rescued, Limpy. He was the only cat I adopted and I loved him dearly. He ran away from home while my friend was looking after him and I was away guiding for a month in Victoria. I'd do anything for one more night with my sweet Limpy.

William Skea, at home amongst the snow and ice.

To keep in touch, and up to date with Will’s work you can give him a follow on
instagram, and/or Facebook.

You can join Will working at Nauti Studios by getting in touch here.

Kickin' Back: An Interview with Custom Sneaker Artist Jeff, of Grail Crew Customs

Jeff is rad. And also a talented custom sneaker maker!
Based at Nauti Studios in the Blue Mountains.

We asked Jeff some red hot Qs to get a behind the scenes look at the world,
and inspirations behind his amazing work.

A selection of rad custom kicks from Jeff of Grail Crew Customs.

Tea or coffee?
Seeing as I spent more on my home set up than a lot people spend on their car it’d better be coffee.

Sunrise or sunset?
If I’m in Tokyo either, otherwise sunrise probably but only because I’ve been up since the night before.

What scares you?
Mould! Keep that stuff away from the sneaker collection. On a more serious note, not being able to protect those closest to me.

Rad custom sneakers from Jeff aka Grail Crew Customs.

Anime flavour from Jeff aka Grail Crew Customs.

When did you start painting sneakers?
As a hobby close to 5 years ago. I won a competition about 4 years ago and started taking it a little more serious. Over the last couple of years I’ve been trying to make moves to make art the full time gig.

What inspires you and your work?
A lot of different things but more often than not it’s manga/anime and street art/graffiti culture.

What’s your fav thing about Nauti?
How chill it is. Plenty of opportunities to mix with people on different wave lengths but there’s never any pressure to commit to anything so it’s just as easy to hide in my own studio, which is nice for a partially introverted person like myself.

The holy touch, from Jeff aka Grail Crew Customs.

So f rad. From Jeff aka Grail Crew Customs.

Which sneakers are you most proud of?
It would have to be either a Freddy Krueger pair of Air Force 1s, experimented with a lot of new ways of ageing, layering paint and distressing layers with this pair. If not that pair then I’d say a pair Air Jordan 1 mids I finished recently (haven’t had a chance to take proper photos of those yet). I never had any formal art training so portrait work is something I’ve accidentally become somewhat proficient at by way of commissions and this pair has what I consider my best portrait work to date.

What are you working on at the moment?
A whole bunch! Finishing off a Japanese koi piece on a baseball glove, a 30 sq inch commissioned canvas piece, starting a collaboration piece with a Sydney Tattoo shop and about 1001 personal projects with an Evangelion piece (pic attached) I’ve been meaning to finish for almost 2 years now sitting at the top of that list.

If you weren't doing what you’re doing, what would you be?
Musician or recording engineer, I’ve got a Bachelors in Audio Engineering/Production and spent a few years as one of the lead guitarists in a deathcore band. That or a full time coffee snob/barista lol.

Bold colours from Jeff aka Grail Crew Customs.

A work in progress shot of the kicks at the top of the page. All by Jeff of Grail Crew Customs.

Have any artists changed the way you see the world?
No artist in particular but the 1995 anime series, Neon Genesis: Evangelion, played a big role in the way I view and explore the human condition in my own life. The themes and undertones in the series were probably a little heavy for someone the age I was when I first saw it but I find myself regularly going back to it even today.

If you could have dinner with anyone dead or alive, who would it be?
Going to cheat and give two answers here;

Alive: Japanese artists Takashi Murakami, just seems like such an interesting and eclectic person.

Dead: Recently passed vocalist from The Black Dahlia Murder, Trevor Strnad. They were one of my favourite bands and the one time I met him he seemed like a really cool guy to just hang out with.

Jeff with some of his rad custom sneakers!

To keep in touch, and up to date with Jeff’s work you can give him a follow on
instagram.

You can join Max working at Nauti Studios by getting in touch here.

The Nature of Ceramics: An Interview with Lisa Davies of pot.pawrie Ceramics

Lisa is wonderful. And also a talented ceramicist,
based at Nauti Studios in Sydney.

We asked Lisa some red hot Qs to get a behind the scenes look at the world,
and inspirations behind her amazing work.

Talented ceramicist and Nauti Sailor Lisa Davies, with some of her ceramic work.

Tea or coffee?
Coffee early. Tea late.

Sunrise or sunset?
Sunrise. I adore the tranquility to set my intention for the day.

What scares you?
The dark.

A beautiful vase by Lisa Davies.

More handmade ceramics by Lisa Davies.

When did you start making ceramics?
I did Art as an Elective at school, though took a different career path working in some pretty cool television and advertising jobs in both Sydney and London for over 25 years. After raising two amazing humans whom I am extremely proud of, I took the opportunity quite recently to re-connect with Ceramics through self-directed study.

What inspires you and your work?
The colours, patterns and textures of Nature have fired my imagination all my life. I know it’s clichéd, but these things truly touch my soul. It is my life’s work attempt to incorporate the wonders of Nature into my creative practice.

What’s your fav thing about Nauti?
The people!! They create the vibe. Our Cap’n Nat is totally awesome. It felt pretty much like coming home when I walked into Nauti. My practise has blossomed in the Nauti creative environment.

A range of Lisa’s work on display in her studio at Nauti Studios Sydney.

What ceramic piece you are most proud of?
My proudest moments come when people buy my work. It gives me a huge sense of achievement when others put value on my work and wish to have a piece or two in their own homes.

What are you working on at the moment?
I’ve got a few commissions on the go right now. I’m also pretty hooked on creating free-form platters and plates. Their big, flat surfaces are the perfect work surface for me to design and create beautiful glaze colours and designs on them.

If you weren't an artist, what would you be?
A television producer

Ceramics with a lil’ garnish, from Lisa Davies.

Beautiful ceramics from Lisa Davies.

Have any artists changed the way you see the world?
Minoan art & culture has fascinated me since my high school Art History lessons.

I love the colours and intricate marine and floral designs. The artwork seems to come alive and swirl around while you’re drawn into the depths of design.

The level of design and sophistication created during this pre-historic Bronze Age period (3000 -1100 BC) is incredible to me. I love the fact that both the Ancient Greek and Roman mythologies were born out of this pre-historic Aegean empire. Plus the mystery surrounding why this civilisation completely vanished into the Mediterranean Sea is awesome in itself!

If you could have dinner with anyone dead or alive, who would it be?
Boadicea /ˈbuːdɪkə, boʊˈdɪkə/ "BOH" + "uh" + "di" + "SEE" + "uh"
Because she didn’t take any sh*t from anyone, and is now not only a symbol of freedom, but she is also a symbol of women's power.

Ceramics for daaaaayyyyyyysssss, with Lisa Davies.

To keep in touch, and up to date with Lisa’s work you can connect on
instagram and facebook.

You can join Max working at Nauti Studios by getting in touch here.

INKspiration: An Interview with Ally Jade

Ally Jade is an incredible human and talented tattoo artist,
who has been working at Nauti Studios in Sydney.

We asked Ally some red hot Qs to get a behind the scenes look at the world,
and inspirations behind her amazing work.

Ally and Carl, co-owners of their tattoo studio ‘Little Frankie’s Tattoo’. Aptly named after their adorable pupper and mascot Frankie!

Tea or coffee?
Coffee!

Sunrise or sunset?
Sunset.

What scares you?
Emotions and feelings.

A beautiful floral tattoo by Ally.

Winging it with Ally.

When did you start making art?
As soon as I was old enough to hold a pencil i began making art :)

What inspires you and your work?
i am inspired by the stories and experiences of women who have overcome adversity and challenges and have remained humble, kind and loving despite everything life has thrown at them

What’s your fav thing about Nauti?
The plants! and the vibes!

Ally working on a tattoo in her studio at Nauti Studios Sydney.

Speaking of women who overcome adversity… Medusa by Ally!

What is the painting and/or tattoo you are most proud of?
I am proudest of the artworks where i have been able to let new creativity flow and not get caught up in perfectionism and outside influences.

What are you working on at the moment?
Building an awesome new tattoo studio in leichhardt.

If you weren't an artist, what would you be?
A social worker.

Ally with two of her hand painted portraits.

Have any artists changed the way you see the world?
not really, but i am a huge fan of lots of artists and tattoo artists-I love Vladislav Bekinski, Gustavo Rimada, Hung Lui and Juliette Belmonte as artists- and Ivan Cubero Lopez and Sophie Lewis tattoo art!

If you could have dinner with anyone dead or alive, who would it be?
Can it be puppies instead of humans?

Big ole leg piece tattooed by Nauti Sailor Ally, on Nauti Captain Nat, based an illustration by Nauti Sailor Max Prentis. Gyarg! What a beautyyyyyy!

To keep in touch, and up to date with Ally’s work you can connect on
instagram and facebook.

You can join Max working at Nauti Studios by getting in touch here.

Transformations, Calm, and Flamboyance: An Interview with Cass Scully

Cass Scully is a talented florist and budding interior designer who has been working
at Nauti Studios in Hazelbrook in the Blue Mountains.

We asked Cass some red hot Qs to get a behind the scenes look at the world,
and inspirations behind her amazing work.

Cass Scully; a designer who curates custom colour palettes, constructs sculptural botanic designs and cultivates spatial concepts for events, interiors and brands.

Tea or coffee?
I love both! You’ll often find me brewing a herbal tea in the evening to unwind but I live by my oat milk coffees. They get me through the early Flower Market morning runs!

Sunrise or sunset?
Sunrise and first light are positively dreamy. When I see them, it means I have a beautiful flower filled day ahead of me.

What scares you?
Big waves! Flimsy old staircases and heights.. AND ZOMBIES! I guess I’m a fraidy cat.😉

Colour and finishing designs in progress with Cass Scully.

Cass’ designed and styled dreamy dried, preserved and fresh seasonal blooms.

Tell us about ‘By Cass Scully’!
I have a passion for flowers, colour, texture and print. I also love how these elements can work together to transform a room, a church or a restaurant into a space with a distinct personality which reflects a family, couple or business. By Cass Scully was a way for me bring my preferred mediums of botanics and interior design under one Cass-shaped umbrella. 

I began working with some talented friends at TalkInk Studio over lockdown and they really helped me to communicate my personality into my business and brand. I love it so much! 

When did you start working with flowers?
Nature is the original artist and I’ve always appreciated the calming and centering qualities that nature can provide. I started my formal studies after moving up to the Blue Mountains back in 2016. 

What inspires you and your work?
Everything! Music and art, films and sculpture. I’m also inspired by the unique growth and forms of the flowers themselves. They’ll often tell you what needs to go where.

Cass’ floral stylings with Australian native flora, in an Art Deco shoot at The Avalon, in the Blue Mountains.

Up-close you can see the detail and beauty of Cass’ floral design.

What’s your fav thing about Nauti?
The warmth! The gorgeous supportive community of people the Nautis are! It felt like I was welcomed instantly into this beautiful network of creative legends and as someone who hadn’t been in the mountains long, it was so appreciated. It’s getting me emotional just thinking about it!
Afternoon cups of tea and check ins are the loveliest way to destress and share. I find the Nauti kitchen chats are like a knitting circle of advice and funny stories and I couldn’t love them more. 

What is the thing you are most proud of?
I’m proud of my passion to learn and continue learning. I love pushing myself as a designer and the things I’ve learned during my studies have been so valuable. 

What are you working on at the moment?
I’ve just purchased an incredible dried botanicals business called ‘Oh Blossom’ and I couldn’t be more excited about it. It’s a beautiful, sustainable business that sources and dries local blooms, blossoms and foliages for long-lasting bouquets, designs posies on consignment and for branded opportunities. Go check them out!

Cass in her studio space in the Blue Mountains’ Nauti Studios.

If you were a flower, which one would you be?
I’d like to say a Sweet Pea but I’m not so delicate. I’d be a loud, bright one which is flamboyant like a Gloriosa Lily. 

Have any artists changed the way you see the world?
The colour gods: Matisse and De Maistre are a couple I think of straight away! 

If you could have dinner with any person dead or alive, who would it be?
Captain Beefheart aka Don van Vliet. He was the coolest, craziest multi-discipline artist, poet and musician and a genius and I would love to sit and listen to his stories.

Some incredible floral design from Cass, focusing on colour, dynamism and focal points. Here she is working with richly coloured terracotta hued Latte Disbuds, contrasted by smooth lines of local lemon Ranunculus, with a bright reprieve from the density of the Disbud, perfumed sherbet coloured Stock, Leucadedron and dried seed pods.

To keep in touch, and up to date with Cass’s work you can connect on
instagram.

You can join Max working at Nauti Studios by getting in touch here.

Pop Culture and Broken Worlds: An Interview with Max Prentis

Max Prentis is an illustrator, visual artist and animator
based at Nauti Studios in Sydney.

We asked Max some red hot Qs to get a behind the scenes look at the world,
and inspirations behind their amazing work.

A recent work from Max Prentis, which feels pretty close to home in these almost-pretty-much-apocalypse times.

Tea or coffee?
Coffee 100%

Sunrise or sunset?
Sunset, specifically a late sunset with a few nimbus clouds and a good half moon.
I'm never up at sunrise to appreciate it so sunset really wins by default.

What scares you?
Death mainly, but I guess second to that would be the degrading structure of our society where corporations have moved into our everyday lives and we can't live a single moment without a advert being mentioned or shown to us.

One of Max’s works made in his studio at Nauti.

Max is a master of detail.

When did you start getting into animation?
! had a client who wanted me to animate there album covers for them, I lied and said I could do that (I was barely able to work Aftereffects).
Then after a few dozen google searches learnt how to animate.

What inspires you and your work?
A lot of pop culture, mainly from cartoons and comics I read as a kid. I've always liked the idea of characters which develop in a broken down world how they act and function.

What’s your fav thing about Nauti?
I'd say the people, it's being around creative people of all walks of life. I'm always keen hearing about different projects and ideas that people are a part of.

(Nat’s personal favourite.)

Up-close you can see how intricate each drawing is, and how fine each line is.

What is the artwork you are most proud of?
!t's which ever one took the least amount of time and effort for the best result, I can't remember which one that is though..

What are you working on at the moment?
I'm working on a mouse pad for Intel. the thing is huge so it's more of a desk pad than anything.

If you weren't an artist, what would you be?
I've always liked the idea of restoring things, so either a shoe cobbler or a antique restorer.

A recent work from Max Prentis.

Have any artists changed the way you see the world?
Ashley Woods and Sam McKenzie, both Australian illustrators which highly influenced me in my early 20s.

If you could have dinner with anyone dead or alive, who would it be?
There was a man I chatted to in a small restaurant in Kuala Lumpur several years ago. He lost his wife and never travelled so he was going through Asia to explore. we talked about art and how he used to be passionate about watercolour as a child, I hope he's doing alright.

Max (left) hanging at the studio when Nat and Simon accidentally all wore matching clothes. It was decided if a band was formed it would be called ‘Olive Garden’.

To keep in touch, and up to date with Max’s work you can connect on
instagram.

You can join Max working at Nauti Studios by getting in touch here.

Calling All Pandemic Painters

CALLING ALL PANDEMIC PAINTERS

Love, beauty, pain and death are powerful themes in art. Poetry, song lyrics, paintings, sculpture, books, theatre, film, street art, etc, all capture the art of emotion through the eyes of the creator.

Some of the worst times, of struggle and hardship, dial it up a bit and often produce the greatest works of art. Personal tragedies, illness, loss, wars, and yes, global pandemics. Artists and creators have been inspired, moved and driven to express their feelings and ultimately help us all to try and make some sense of what we are experiencing.

Sumanley Xulx , Untitled, 2020

From the Middle Ages to modern day, and long before and long after, plagues and pandemics have bore witness to those bearing witness. Historical works came out of tragic times like The Black Death and The Spanish Flu through to modern day works depicting AIDS, Ebola and now COVID!

Pieter Bruegel the Elder, Triumph of Death, c 1562, Museo Del Prado, Madrid

Pieter Bruegel the Elder, a Flemish Renaissance master and Medieval White Walker Whisperer, channeled his zombie apocalypse fears in his 16th century painting, Triumph of Death, a very Game of Thrones depiction of The Black Death, complete with an army of pissed off skeletons.

Edvard Munch, Self-Portrait After Spanish Influenza, 1919, Oslo, at the National Gallery

Edvard Munch caught the Spanish Flu and painted a series chronicling his illness. Munch survived unlike other famous artists including Gustav Klimt who died in 1918 after contracting the Spanish Flu while hospitalised for a severe stroke that left him partially paralysed.

Banksy, Game Changer, 2020

Painters all over the world have been busy creating everything from murals to street art, to self portraits and beyond. Beautiful, bizarre, devastating and angry. 

Has Covid informed your work? Or the work of someone you know? Share with us in the comments below!

Crisis As A Muse: 8 Steps for Immunising Your Mind, Work Practise and Work Space, in Trying Times

 Crisis As A Muse:
8 Steps for Immunising Your Mind, Work Practise and Work Space, in Trying Times

Fires, flood, drought and now COVID-19!
It’s been a challenging time for all of us and it looks like there is a long road ahead.
Now is the time to use what’s happening as fuel to refresh!

 Social Distancing and hand gel are now the new norm,
but that doesn’t have to mean fear.
Let’s flip it around and see it as an opportunity! This time of uncertainty can be also be a time to pivot by taking a fresh look at your outlook, your creative practice or small business, and your work space.
Throw open the windows and take a good look at everything.
Many entrepreneurs, artists, musicians and writers have produced beautiful, extraordinary,
provocative and shocking works with crisis as their muse.

Here are some ideas for cleaning up your craft, refreshing your workspace, and
making the head space to work during the current state of the world:

1.  CLEAR THE CLUTTER

I don’t know about you, but this image makes me feel rather uneasy.

If your head is so jam packed with the crazy crisis, everyday crap and cracking ideas that you can’t fit one coherent thought in there, then here’s a great tip: Write. Them. Down. Yep, that’s it! Get your laptop out, put a note on your phone, or go old school and use a PEN AND PAPER!  It’s always good to get them out of your head and in a place where you can have a really good look at them.

If your office/studio/desk space is so jam packed with the crazy crisis, everyday crap and cracking ideas that you can’t fit your laptop down somewhere: Clean. Your. Shit Up. Yep, that’s it! Get your bin out and put that paperwork you don’t need in it, get a bag out for shit you don’t need to donate, rearrange your crap to be more space efficient!  It’s so fuckin good to get rid of that clutter to get your head in a place where you can look at your work space and not have a fucking anxiety attack.

It’s time to. Get. Your. Shit. Together.

2.  CLEANSE, RINSE, REPEAT

 Make a concerted effort to shift the energy in your work space and your brain space. There are literally a million ways that you can do this: get some flowers or plants to brighten it up, put a fresh coat of paint on the walls, get a new comfy chair, burn sage, hire a witch doctor, invite some friends over for a bottle of wine, cup of tea, shot of Todka (it’s a thing, toffee+vodka = what could go wrong?)

3.  ELBOW GREASE IT

This image. Lol!

Did you have a nice set of projects, all sparkly and shiny, at the beginning of the year and then some how they got tucked shoved to the back of the cupboard getting dull and tarnished? Rescue them! Reach way back in to that dark place and pull them out in to the light. Give them a rub and a good long look. Air them out! Maybe they can be salvaged or maybe it’s time to let them go.

4. WASH YOUR WINDOWS

How are you viewing your practise? What do you see when you look out your ‘window’? Are you seeing things clearly? Is it time to wipe away the grime and smudges and see if you can get a new perspective? Mmmm… New perspectives. Delicious.

5.  RECHARGE YOUR MOJO BATTERIES

For me recharging is with the biggest bad ass bitch of all time. Mumma Nature. But you do your thing, whatever brings your joojoo back!

Dial it back a bit - stare into space, go for walks, sit on the beach, organise the sock drawer, alphabetise the condiments, chill, Netflix, Netflix and chill… creating takes energy and TIME. Ideas don’t grow on trees, or is that money? Either way, take your brain off the boil, reduce the heat and simmer. Simmer time and the livin’ is easy…

6.  THROW AWAY OLD, OUTDATED ATTITUDES ABOUT YOUR SELF-WORTH

Destination, town of FeelGood. Im pretty sure Gorillaz live there. Good place to be.

Okay, this one is big. Like, BIG! We all do it, so let’s shut that shit down! Create a new daily habit of meditating or gratitude journaling. Be thankful for anything big or small - the sunrise, the wind in the trees, that good friend, your smashed almond macchiato on gluten free toast. Looking at the world with gratitude will help you to recognise all the good in yourself and your work.

7.  DUST OFF THE COBWEBS

Does it seem like you are on auto pilot. Same thing. Different day. Well, it’s a great big world out there filled with interesting people. Find a mentor, collaborate with someone, or start hanging out with a supportive network of cool people (uh hellloooo Nauti Studios!)

Do you have other ideas for refreshing? Hit us up with any ideas you have!

Apartheid, Led Zeppelin, Earthquakes, and Moby Dick: Creations Birthed from Crisis

Apartheid, Led Zeppelin, Earthquakes,
and Moby Dick:

Creations Birthed from Crisis

Times of crisis are a huge challenge to all of us. Often breeding personal disaster on top of external disaster.
It is in these hard times that we must let our experiences be the birthing place for new creations. Some of the greatest works have stemmed from times of crisis.
Here are some great pieces of music, film, literature and art that have been created, inspired by crises.

‘When the Levee Breaks’ by Led Zeppelin

Memphis Minnie (left) one of the original writers/performers of
‘When the Levee Breaks’, later covered by Led Zeppelin (right).

‘When the Levee Breaks’ was originally written and sang by Memphis Minnie and Kansas Joe McCoy in 1929. The song was written about the Great Mississippi Flood of 1927, the most destructive river flood in the history of the United States. The disaster destroyed around 130,000 homes and farms, displacing over 700,000 people.

Residents of the area built sandbag walls along the river to stop the flood—known as levees— and some were forced to take shelter on top of them, however, the worsening conditions prompted them to lament about their unstable future, which is where the tune draws its interpretation from. Those who endured the worst were African Americans in the community, who were often forced at gunpoint to build the levees by the white people who operated the refugee camps while suffering systematic poor treatment from the Red Cross. As a result, the lyrics of this song express the horrendous experiences of the oppressed during disaster.

Writing credit to Grassroots Journal.

Moby Dick by Herman Melville

In July of 1852 Herman Melville took a steamer to Nantucket for their first visit to the Massachusetts island, home port of their novel’s mythic protagonist, Captain Ahab, and their ship, the Pequod.

On their last day on Nantucket, Melville met the broken-down 60-year-old who had captained the Essex, the ship that had been attacked and sunk by a sperm whale in an 1820 incident. This person became the inspiration behind Melville’s novel.

Captain George Pollard Jr. was just 29 years old when the Essex went down. They survived and returned to Nantucket to captain a second whaling ship, Two Brothers. But when that ship wrecked on a coral reef two years later, the captain was marked as unlucky at sea and no owner would trust a ship to him again.

Pollard lived out his remaining years on land, isolated and ostracised, as the village night watchman.

Writing credit to Gilbert King.

Neil Blomkamp’s film ‘District 9’

District 9 is a 2009 science fiction action film inspired by events in Cape Town’s District Six, during the apartheid era. 

The film is partially presented in a found footage format by featuring fictional interviews, news footage, and video from surveillance cameras. The story explores themes of humanity, xenophobia and social segregation.

Beginning in an alternative 1982, an alien spaceship appears over Johannesburg, South Africa, and a population of sick and malnourished insectoid aliens are found aboard the ship. The South African government confines them to an internment camp called District 9. Years later, during the government's relocation of the aliens to another camp, one of the confined aliens named Christopher Johnson tries to escape with his son and return home, crossing paths with a bureaucrat named Wikus van der Merwe.

The treatment of the insectoids, and protagonists, throughout the film brings to life the cruelty of xenophobia and social segregation from a first hand perspective. Exploring the effects, from the ground, on real people in mass crisis events. 

Writing credit to Wiki.

‘Remembering’ by Ai Weiwei

In 2009, the dissident artist Ai Weiwei created work to honour the thousands of children who died in the Sichuan earthquake. 

More than 80,000 lives disappeared, many of the dead were young people at school and university. 

The Chinese government censored and controlled all of the information about the earthquake, so people didn’t know the details of what really happened. So Weiwei decided to cover the Haus der Kunst museum’s facade with one sentence from a victim’s mother. She had written to me: “All I want is to let the world remember she had been living happily for seven years.” This beautiful little girl was just the same as any other: she liked to dance, to sing. But suddenly – because of the negligence of the government, the corruption in construction – there wasn’t a safe building for her to go to school in.

The project, ‘Remembering’, angered China’s rulers – and changed his career for ever. 

The Haus der Kunst is a historical building. The architects made it especially for Hitler. They all knew he loved art but had never been accepted as an artist. He criticised any work he considered “degenerate” – any abstraction or early examples of surrealism. So to cover that museum’s facade was a very political act, a very dramatic act. It took 9,000 student backpacks to construct that sentence.

Of course, there is a front door to the museum, so people had to pass right through this sentence. They didn’t understand the Chinese writing, so it forced them to find out, to learn, to read about the show. Munich is a city full of art lovers and collectors and it became very popular.

Writing credit to Ai Weiwei.

Share with us

During this crisis, what are you inspired to create?

What great works, created from crises, have influenced you?

Kicking Off 2019 By Giving Back: Nauti's Twelve Month Residency Program

To start off 2019 we are having a chat with Nauti Studios’ Founder and Captain, Nat Cheney. Having opened applications for a brand new twelve month Residency Program at our Blue Mountains location, we ask Nat about the inspiration and drive behind this initiative.

Nauti Studios Founder and Captain Nat Cheney. Picture: Ann Niddrie.

A twelve month Residency Program?! What? Where did this come from?
I have started 2019 by having an amazing festive season. It has been filled with amazing chats and idea sessions with fantastic people around me at Nauti. I have kept at work over the past few months at Nauti, but it has felt like a holiday in that the amazing people around me have helped me be more invigorated, inspired, and grateful for their incredible influence. I decided, feeling very grateful for the incredible people I am surrounded by, that I wanted to give back. The Arts, Culture & Small Business Residency Program is designed to give massive opportunities to an individual, team or group who would benefit from having their own private work space, mentorship, and being around creative, inspiring and productive people. Giving this opportunity also has the potential to greatly impact locals, the local economy, and the international industry of the Resident/s’ profession. Through someone developing and furthering their practice, it will have a great impact on the people around them, the businesses they interact with, and the international community of the industry in which their work is produced. Seems like a win-win situation to me. I love that saying “a rising tide lifts all boats”.

Who is able to apply for the Residency Program?
As the people working at Nauti Studios are very diverse, as are their professions, I have written the program to be applicable for most industries. We are welcoming all applications from artists, designers, media innovators, educators, creative arts researchers, scholars, and anyone working on a project or in a field in arts, cultural development or small business.

“A rising tide lifts all boats.”

Is the opportunity open to people of all skill and experience levels?
You betcha! All disciplines, and all skill levels are welcome.

What does the Residency Program provide?
Participants receive full-time access to our work space for twelve months, with access to our communal areas, social events, utilities, amenities, mentor opportunities, professional knowledge and networks. Also, our Hazelbrook studio is easily accessible from Blue Mountains areas by car or public transport.

What is expected of the Recipient/s of the Residency Program?
Nauti expects that they will be dedicated, productive, and grateful for the opportunities they are given. We also welcome and encourage the recipient/s to give back to their local, national and international community. This giving back can come from simply furthering and developing their practice and profession throughout their residency. Also, Nauti Studios can provide working space and open areas for meetings, rehearsals, workshops, exhibitions, or other, for participants to give back to the community during the Residency Program. For example, recipient/s may like to hold an event, presentation, exhibition, or such, inviting industry professionals and the general public to share the work they have been able to achieve during their time at Nauti Studios.

“A smooth sea never made a skilled sailor.”

When and how can someone apply for the Residency Program?
Right now, baby! Applications are now open, and finish up 15th March 2019. If people want to learn more, they can check out the info here, and if anyone has any specific questions they can ask me here.

And to wrap up, would you like to say to anyone reading this?
Happy 2019 Sailors! May this year be productive, inspiring, and may you rise to all challenges. Remember, ”a smooth sea never made a skilled sailor.”

Aye Aye Captain!

One of the great, and sustainably made, work spaces at Nauti Studios.