‘As a child I was fortunate that sketch books and charcoal were always at hand. My mother attended the Academy of Fine Arts in Vienna before immigrating to Australia and introduced me to art at a young age. She always encouraged me to draw from life and drawing is still a large part of my practice.’
Why do you make art?
My earliest memories as a child are of climbing over the back fence and drawing in my neighbour’s garden. My neighbour’s yard was always far more interesting than my own. It was wild and overgrown and I spent many hours contemplating how to draw the curve of a leaf or the angle of a falling roof gutter. As a child I was fortunate that sketch books and charcoal were always at hand. My mother attended the Academy of Fine Arts in Vienna before immigrating to Australia and introduced me to art at a young age. She always encouraged me to draw from life and drawing is still a large part of my practice.
What’s your relationship to printmaking?
How did you get interested in printmaking?
After finishing my painting degree in the early 80s I travelled overseas for a year. I remember the first time I viewed prints by Dürer, Kokoschka, Kiefer, Schiele, Kollwitz and Rauschenberg to name a few, at the Albertina in Vienna. Some of the works resonated with my senses so strongly that I went back numerous times to view them. On my return to Australia I was committed to making prints and rarely picked up a paint brush again.
Bridget Hillebrand, Rites of Passage, 2014, linocut printed with crushed quartzite and limestone, 30 x 113 cm.
Who is your favourite artist and do you have a favourite artwork?
A large range of artists and artworks inform my practice at different times. I am open to encounters that not only inspire but also challenge my way of thinking. I enjoy artworks that provoke a variety of responses. James Turrell’s Skyspace Within without is on my list of favourites along with many others.
Where do you go for inspiration?
Most recently Mt Arapiles, but inspiration can come from a variety of sources: a conversation, a passage from a book, music, exhibitions or an encounter in the landscape. Most importantly the act of making inspires me to explore and experiment with new ideas.
Bridget Hillebrand, Site Unseen, 2015, hand-stitched artist book, bind embossing and chalk, 17 x 39 cm (closed).
How has the experience of completing your PhD affected your practice?
Completing a PhD provided time and focus to develop a body of work related to my experience of the landscape and more specifically to rock climbing. It encouraged me to articulate my thoughts and experiences, which in turn enriched my experiences in so many areas. Writing an exegesis allowed me to rediscover my love of reading. I also researched a wide array of material that I may not have looked at otherwise. The research also stimulated my interest to further challenge and explore the corporeal and spatial aspects of my work, to increase the kinaesthetic nature of my creative research, and to further explore an interactive engagement between viewer and artwork.
What’s next for you?
My solo exhibition Touchscapes will be exhibited at MADA Gallery, Monash in August and comprises the practical component of my PhD research. In developing artworks that reflect a rock climber’s intimate and sensory encounter with rock, the exhibition presents new possibilities for seeing and looking, where the viewer is invited to engage with the works through touch.