Kate Power
Season 2 – Episode 7
Resources
Instagram handle @kate___power
katepowerartist.com
vitalstatistix.com.au
feltspace.org
aceopen.art
Book: Zami a spelling of my name Audre Lorde
Book: After Kathy Acker by Chris Kraus
Transcript
Nick Breedon 0:00
Hi, I’m Nick Breedon,
Kiera Brew Kurec 0:01
and I’m Kiera Brew Kurec
Nick Breedon 0:03
And your listening to Pro Prac
Kiera Brew Kurec 0:04
a podcast where we explore the professional practice of artists and hear their stories.
Nick Breedon 0:09
Joining us via telephone today is Kate Power. Kate Power is an artist and writer based in Adelaide. Her practice embraces video, performance, textiles, sculpture, and installation to investigate coexistence and enforced social constructions that can complicate the way people relate to one another. Power is a graduate with first class honors from the South Australian School of Art, she has recently undertaken residencies at the British School in Rome, NARS foundation in Brooklyn And SIM in Reykjavik, Iceland. Power has exhibited at the Contemporary Art Center of South Australia, Blindside, Seventh gallery, Paper mountain, Felt space and Ace open and West space.
Kiera Brew Kurec 0:52
Thank you so much, Kate, for joining us today.
Kate Power 0:55
Welcome. Thanks for having me.
Kiera Brew Kurec 0:56
I was wondering if you can kick things off by telling us a story of how you became an artist?
Kate Power 1:02
Oh, well, I’m gonna just begin when I was born, because that makes me feel good to start at a logical beginning point. So I was born by the beach. But my family lived in a semi rural town in South Australia called Iron Bank. And I grew up there with my mum and my dad and my sister who is 10 years older than me. Um, and I think of myself as an only child, because the age gap meant that we were just really different phases in our lives. So we didn’t have that sibling camaraderie, I think that a lot of kids have with their siblings. So we lived there until I was five, and then we moved to a suburb in Adelaide. And when I was seven, my parents separated. And I think that was the kind of I don’t know, that time and the experiences that followed, I think were really influential in devloping my own world, which I kind of see as the beginning of developing a sensibility as an artist, I guess. They separated and then because my sister was 17, she kind of had her own life. And then my mom got a partner shortly after that. And the three of us sort of had this fairly close dynamic, it was kind of an interesting dynamic, but it was a very adult base from the beginning. So I kind of was thrust into this adult world quite young. And because I was, by myself as a child, I think I sort of started being interested in I dont know, like creative spaces as a way to process experiences, that time, and making sense of things in a weird kid way In an adult world where not much communication was happening in the family as well. So there wasn’t a sense of like, we’re in this funny zone of just processing this experience together. So because of that, there wasn’t much communication. I was sort of finding my little ways of processing things. Yeah. And I even remember, the first installation that I made was when I was like, eight or something, and the power went out inside. And I just like compiled all of these things that I found in my room in this installation, thinking that it might create light. (Laughter) It was like, I still remember what it looks like, it just looks so cool. And I like I saw a light coming out of it, even though it was just like toys. Yeah, so that, I don’t know, that’s a strong kind of making memory. And I’ve sort of got strong making memories. throughout my childhood. I think I spent a fair bit of time alone. And even when I was with other kids, I sort of felt like they were the kids and I wasn’t a kid. And then yeah, so I don’t really think of anything else apart from going to school, being at school. Um, and then when I was sort of like, early teens, I started to become pretty politically active. My mum was a academic and really active feminist. She worked in women’s health in domestic violence. And yeah, I became pretty political. And we were always having debates at home about social justice and, you know, big dinner table chats. Um, and then when I was sort of, yeah, well in to tees became just like very angry feminists kind of raging about everything becoming aware of the sexualization of women. processing my own sexual abuse and art became my main outlet for all of those things. Yeah, like developing Not even like, yeah, just developing a language to process experiences that I had that I guess some hard to make sense of.
Kiera Brew Kurec 5:38
Was creative practice at all, like, around in your family at this time does anyone else in your family have like a writing or art based practice?
Kate Power 5:50
Well, my sister worked in the arts, I think she had a big influence on me, she worked in the arts in kind of community organization. So she was doing that around this time. And her, her partner was a musician. And so that was just like, yeah creative feeling around. My mum’s partner worked in mental health, but he’s also a writer.
Kiera Brew Kurec 6:14
Mm hmm.
Kate Power 6:15
So was sort of, yeah, I guess a familiar language to go to. The sense of creating something from your experiences in a language that makes sense to you was pretty familiar to. And that was kind of an encouragement of that, and not really a questioning so much of what you were doing, it was just kind of like, yeah, that totally makes sense. To do that.
Yeah. And then yeah, and then when I finished high school, or during high school, I was sort of a little bit disengaged. And yeah, just found it really hard, and spent most of my time in the art room. And then kind of started making my own language around that time. In a few different ways I was writing and, you know, I guess, making drawings and things like that. But just starting to feel like I was identifying with the word artist. And so when I finished school, I just didn’t really have a question about what I was going to do. I just went straight to art school.
Kiera Brew Kurec 7:29
Mm hmm.
Kate Power 7:30
Um, and then, yeah, art school was a bit of a shock. Like, I think when you’re, you’re a teenager, or like anyone who goes straight from shcool to art school doesn’t really know what art is, like, the contemporary art world is. You think it’s your drawing (Laughter). Um, and that was like, I don’t know, it’s so exciting. Getting thrown into that world and looking at the library and learning about Rebecca Horn and, you know, that was a massive learning experience, like it is for anyone.
Kiera Brew Kurec 8:09
Mm hmm. Yeah, I remember when I was at art school, I don’t know what it was like for you. But when I went through VCA, the University hadn’t amalgamated yet with the University of Melbourne. And so a lot of the students were, what would now be considered mature aged students. And those only actually, a couple of us like three or four that had come straight from high school. And I knew a little bit about the contemporary art world, but I didn’t know everyone and I definitely didn’t know like, every single Y.B.A. And I remember all these, like, other students, kind of knowing everyone, and I was like, what, who are all these people? Isn’t it just like, who I see at NGV?
Kate Power 8:51
Yeah its a crazyexciting learning time.
Kiera Brew Kurec 8:56
Totally.
Kate Power 8:57
Also, I think I was really angry as well, because I realized I didn’t know anything. I was kind of like, I remember being pretty pissed off at some of my lecturers for not like, I don’t know, not thinking what I was doing was relevant.
Kiera Brew Kurec 9:14
Yeah. So when you went to uni, were you in a specific department? Or was it kind of an open department? How did that work?
Kate Power 9:23
Um, yeah. So I think you do, maybe two years of a bit of everything. Like a foundation study course. And then you try out everything for a couple of years. And then I think I mjored maybe it was the second half of my second year. I majored in sculpture. And then, yeah, I thought I think I was in sculpture department for the rest of the time I was at Uni. Then Started doing performances and things toward the end of when I was there. Yeah,
Kiera Brew Kurec 10:02
Cool. While you are going through uni, obviously, Adelaide has a pretty strong ARI scene, Were you also exhibiting at the same time or you’d kind of just like focusing on uni.
Kate Power 10:19
I think I had my first exhibition. Oh no, I was doing I was in exhibitions when I was at uni. Pretty low key ARI, um, you know, community organized shows that maybe we’re on for a week or something. When I was in uni, I worked at a an artist run space called format which doesn’t exist anymore, but it did exist in a few different locations during the time that I was in uni. And so it was kind of like a, it was a space where there was a zine shop in the front, and then a gallery space and a band space. And I worked as I’m kind of organizing the gallery for a little while. And yeah, so sort of organising shows, like, pretty ad hoc shows. And, you know, exhibiting there as well, and going to meetings, and yeah, kind of doing a lot of bad organizing. And feeling really, like under pressure about it, too. Like, I’m organizing this gallery, and I’m trying to study (Laughter).
Kiera Brew Kurec 11:27
Yeah, when you came out of uni, did you? Like you’re kind of saying before about how the idea of like, the, the term like being an artist was like, starting to come to you. When you graduated from uni did that feel like something that you could fully step into and be like, I’m an artist now? Or was it something that you kind of needed a bit more time to decide if you were going to continue that path, or even just feel like you could label yourself as an artist?
Kate Power 11:56
Yeah, I felt really committed and confident in being able to maintain a career as an artist. Um, yeah, I just, I sort of was really comfortable with the word artist while I was at uni, even. And then. I don’t know, maybe it was to my detriment that I was, like, I could see a clear path as to the things that I needed to do in order to be an artist. And this was, like, a pretty naive idea of like, having a bunch of shows, and then I’ll probably, you know, it’ll just take a smooth progression towards sucsess (Laughter) You know, I think it happens to everyone, you come out of art school, and you apply to all the ARI’s, and you have a million shows, and you work really hard and, you know, spend heaps of money, and yeah,
Nick Breedon 12:54
you get exhausted, and then you get burnt out and then here we are!
Kate Power 13:00
and then you’re like, wait…. thats not the end! (Laughter) But I did definitely feel really focused. And, um, and kind of spent the first two or three years really working hard on making sure there was some constantly, things happening next. And, yeah, trying to be pretty broad about the kind of things I was applying for as well, like, exhibitions and workshops, and residencies, and yeah, building my skills, saying yes to everything that I got asked to do. Yeah, so i think i think that felt at the time, like a really viable path. And I felt kind of confident to do that. And to say that that’s what I was doing as well. I never felt like embarrassing or flaky for being like, Hi, I’m an artist. Yeah.
Kiera Brew Kurec 14:08
So what was it, what did the trajectory kind of look like after you came out of art school and then did all of those ARI shows and was saying yes to everything? What came next?
Kate Power 14:21
Well, then I was really tired. yeah, I sort of had a bunch of shows. I went on a residency in Iceland in in 2016 for a month. And that kind of slowed me down a little bit. Because I, I guess I just had time to step back and to think about what my process was and what I wanted to do next. And then when I got back from that, I pretty soon after went on a residency in New York for three months. And I was working really hard there, and I made a lot of work. But it was also an opportunity to sort of, I guess, just wonder about what I really wanted to be doing and if the work I was making was the work that I wanted to be making, and just kind of reconnecting a little bit. And I think as soon as I was sort of doing that, and then still continuing to exhibit, I was, yeah, just thinking a little bit more about what direction I wanted to take. And then after that, I came back and had a bunch of other shows. And then I went on another residency to Rome, which was really incredible. And it’s such an amazing and challenging time. But I think the banking up of residencies, and sort of moving around and doing so much stuff in quick succession was really exhausting. And then I kind of have come home since then, and been taking things much slower and trying to figure out or trying to find a way to be sustainable, I suppose. Because of exhaustion, and that kind of continually feeling as if I have to be doing something. To stay I don’t know, to feel like I’m in it still has been a bit of a challenge. So now I’m trying to think a bit more about how to sort of maintain a sustainable practice without feeling like it’s all or nothing.
Kiera Brew Kurec 16:37
Yeah. Well, that kind of like leads perfectly on to the next question, which is, what has been some of your biggest challenges and things that you’ve needed to overcome to continue your practice? Obviously, you’re just talking about, like exhaustion and creating a sustainable practice. But has there been anything else? that’s come up along the way?
Kate Power 16:57
Um, that’s definitely the biggest challenge that I’ve had so far. Obviously, funding, And using all of your own money to make your projects happen, and then working really hard at, you know, a paid job, in order to make your artwork is this kind of this terrible cycle that’s not sustainable at all. You know, you have a whole bunch of time working at a job, I call it my jobbie. I work in a bookshop. And it’s my jobbie. So you know, I have a block of time working at a jobbie.
Kiera Brew Kurec 17:40
Is that like, half job? Half hobby?
Kate Power 17:45
Like, actually a bit of a I don’t know, it’s sort of disrespectful to my job. I guess it just makes it. Because it’s the job that I have on the side that I have to have in order to me. I guess it’s a bit of a hobby. Like I really liked reading. But yeah, it’s just kind of a little bit of a joke, like my little jobbie spending a bunch of time in order to be able to maintain my work, and then having time where I’m trying to maintain my work, but don’t have the income. So it’s kind of this funny thing of like, you have money and no time or you have time and no money.
Kiera Brew Kurec 18:24
Totally.
Kate Power 18:27
And you know, at the moment, I’ve got money, but no time. So that’s just as stressful as having no money really. Because, you know, you get really depressed and moody if you’re not working and have that outlet. So, yeah, I just feel quite grumpy. And I disconnect from my work. But my bills are paid on time. And that’s kind of good.(Laughter)
So that’s, that’s a challenge. I think it’s a challenge also during those times when you’re doing this necessary, stepping back and and just re calibrating a bit and getting you know, getting a bit more stable after high stress or high energy time from a show. Just knowing that that is necessary, but at the same time feeling like your connection to your work might be slipping away or your sense of being in it or feeling part of it starts to slip away a bit like it feels like that whole thing of you are your latest show or whatever the saying is like it’s a yucky thing that that’s part of it, too, is you know, you see people at openings and everyone wants to know what you’re doing.
Nick Breedon 19:48
That has come up in evry episode this season. What are you working on next? It’s like number one dreaded question for everyone.
Kate Power 19:57
Yeah. Which is fun if you’ve got a million things coming up and you can brag about them, and you can feel good about that. Oh, except then instead of saying I’m working on these really exciting project, most people are like, Oh, I’m so stressed.
Nick Breedon 20:14
so busy, so busy.
Kate Power 20:18
And they just want to be the person who’s taking some time out. And the person taking time out, just wants to be the person with so many things on. It’s a weird thing.
Kiera Brew Kurec 20:29
I wonder if we can come up with a new question to ask each other.
Nick Breedon 20:33
I much prefer to say that what did you do today? Bring it down, you know, present Well, not quite present moment. But you know, keeping it. What did you do today?
Kate Power 20:48
It’s mostly just the awkwardness of the other person not knowing? Like, we actually have nothing in common except for bumping into each other openings. (Laughter)
Nick Breedon 21:00
Absolutely. You know, given that, you know, you’ve spent so much of the last couple of years working so hard on projects, but like, what, what does a successful practice mean to you?
Kate Power 21:17
I think the feeling of excitement about what you’re working on, or maybe a kind of feeling of deep connection with your ideas, and with your work would be successful. And yeah, I think just a deep connection with your work. And whatever that is, at the time, like, I don’t think it necessarily needs to bethat your I don’t know, like, you’ve got things to show for it in the moment or something like that. But yeah, just to focus and a connection and an engagement.
Kiera Brew Kurec 22:10
That’s really nice.
Kate Power 22:14
I think for me personally, it would be that my practice continues to work over a few different in a few different contexts like that I can exhibit work, and I can do performances, and I can teach and I can engage in community spaces. I think that is when it feels good is when there’s a few different kinds of modes happening. And I’m not in one space. It wouldn’t be being in the studio all the time. Working and, you know, exhibiting it would be that I’m engaging in a few different ways.
Kiera Brew Kurec 22:57
So Kate I’m wondering, what does your practice look like? Can you give us a day or a week in the life of Kate Power?
Kate Power 23:06
Yes, well, I thought I might answer it in two ways, because of my what I previously said about like, lots of jobbie time and lots of studio time. Because I don’t know it seems to be anyway lately that I’ve been kind of ebbing and flowing between those two and having kind of intensive blocks of both rather than having a good balance. So at the moment, I’m working like five days a week, and at the jobbie, pretty much nine to five at a bookshop. And then I have two days off, which is Monday and Tuesday. And on Mondays, Wednesdays, and Fridays, I swim early at the pool around the corner with my mum, and we do laps, and then we it’s winter at the moment, obviously, so we sit in her car afterwards and drink coffee and have a chat. We started sitting outside when it was still sunny and nice, but then I got really cold. So now we just sit in the car and have a chat with coffee. And then I go to work. And then I just talk to people all day about books. And it’s kind of nice, because it’s a monotonous job, but in a sense that it’s um, you know, as a fairly similar day each day. Yeah, it’s conversations with people and stories and new words and ideas all the time. So that’s still good for me, and exciting and engaging in a different kind of way. Um, and then, you know, I’m still trying to fit in everything around that as well. So, I come home and, you know, check out what grants I need to apply for or what applications I need to be doing at night mostly. So it’s not really great at the moment, because I’m doing a lot of work all the time. Um, yeah, that’s, I always have coffee in bed, like, apart from the coffee in the car with Mum, I always drink coffee in bed in the morning before getting up. If I wake up, and I haven’t had a coffee in bed, it’s not a good day. And it usually feels like the day never begins. I get home and I’m like oh that day never began (Laughter). So that’s kind of like, and, and recently, when I was assisting these artists on the exhibition, I was doing those hours as well. And then I. So she asked me to remake one of her works for her that she made in the 90s. And she gave me a photograph and no so she gave me a slide and told me how to make the work and then and the materials. And then just, that was it. But I yeah, so I just sort of started doing this full time work and I’d moved house. And I was like, I’m also really broke. So I’m going to do this work for her. But I’m going to have to fit it around my jobbie. So I decided to just do it around those hours, which meant you know, I’d get home from work and then do it from like six to 12. And it was it was kind of okay, except that the work was being made with feathers. And there was just feathers. So I was kind of working like around the clock at these two jobs with feathers everywhere. And this house that I hadn’t set up yet, because I’ve only just moved just like a hectic coupple of months.
Nick Breedon 26:53
just like going to work with like bits of feather in your hair and stuff like that.
Kate Power 26:57
When I when I’m working more in the studio, I like to do so I like to get up have the coffee in bed. Maybe they’ll do a little bit of like leisurely looking at Instagram, looking at you know, things to buy on the internet. And then reading in bed a bit more of a slow start to the day. Yeah. And then I like to do ten till four at the studio because it’s kind of like I think that’s a good amount of time for me. Because it means that I’m a bit more focused when I am there. Rather than being like, I’m going to get there at nine and not leave till six because then I get really flaky and yeah, so I like to get there at 10. A studio day, depends what time of making I’m at sometimes it’s like reading books, and doing drawings. And yeah, just thinking, making notes. or other times. It’s pretty active making I guess. And when it’s nearer to an exhibition, it’s not ten till four for anymore. It’s like nine to 10 really hardcore, you know, physical making. So it really varies depending on the cycle. If I’m having an exhibition.
Kiera Brew Kurec 28:27
Do you have a studio close to your home or at your home? Or in a complex? Where How do you structure kind of where your studio is located?
Kate Power 28:38
At the moment, I have a studio in an old church, which is about a 10 minute drive from my house. And I think there’s about Oh, it’s the same one that Jenna is in actually
Kiera Brew Kurec 28:49
Oh, cool.
Kate Power 28:52
I think there’s maybe like 12 artists there. And I kind of like that I’ve been in that studio and I’ve had a couple of different studios in there. And at the moment, I have one that’s a bit bigger, and it’s got a door so it’s not kind of as communal as the others which are all shared by a hallway. I like to have a really private space. So yeah, the door suits me well. I can whatever I want and not feel like anyone’s looking. That’s kind of super important. I’ve never made successful work in a studio where there’s been, you know, only a curtain or something separating me from people and I can do weird secret things and have no one threatening to come in.
Kiera Brew Kurec 29:41
I can totally relate to that.
Nick Breedon 29:43
It’s like all you performance artists, always taking your close off. (Laughter)
Kiera Brew Kurec 29:54
I don’t know I think it’s a psychological thing for me. It’s like I need to be able to be compleatly in my own private space, or whatever that looks like, but I think, yeah, the open studio structure or like, partitions for me is just like, I would feel like I’m on display all the time or something like that.
yeah. And that actually is a pretty big psychological thing of safety as well.
I really like that 10 – 4 time structure, as well, that sounds like a really practical and like, you know, finding out the times that you work best as well. Like, I think, for a really long time, I thought I was a night owl. But I’m also someone that like, quite naturally wakes up really early in the morning. And then I realized I was just like, staying up really late, because I kind of thought I had to, to show that I was like, working really hard. And then I realized, like, oh no, like getting up early that’s like when my brain functions the best and I have a lot of clarity. Like, I think it’s, it’s interesting. We’ve always been conditioned, I guess, from school, or, you know, and the eight hour day and everything that like, the most, you know, your time period is meant to be that you’re working from like, nine to five kind of time. But when you realize that, like, what is your maximum time, so like, periods of operating is really interesting.
Kate Power 31:37
I just sort of feel like that eight hour day is a lot of people feeling obligated to do that eight hours, and then they waste, you know, a lot of them because they’re not focused, or, you know, it’s almost like procrastination is built into the eight hour day.
Kiera Brew Kurec 31:55
Yeah. When I think about like lots of people I know who work in other kind of jobs that aren’t hospitality, or customer service in the way that they can sit behind a computer for a lot of the day. And like when I find out how much other stuff that they do, I am like really?
Kate Power 32:13
A friend who has like a full time, office job is just always sending me things that she finds on the internet that she would like to buy. And I’m like, What are you doing? Online shopping I am like what is your job?
Nick Breedon 32:27
Those last couple of years that I worked as a more more tradie kind of hours. That was like, brutal, because you turn up at seven in the morning, and you’re like, working untill three, and then you’re wrecked for the rest of the day its like nonstop.
Kate Power 32:44
Oh, yeah, that’s true. It’s like the luxury to be able to hide behind a computer and pretend you’re doing something. Yeah. But I think, you know, the 10 – 4 thing is also a little bit of an idealized concept. Like, it doesn’t necessarily always happen that way. But that’s my aim, anyway. Yeah. And that, knowing that all I need to do is get to the studio, work for a few hours, and at least shift something in there. So that next time I go, it’s changed and that I can change it again, like yeah, about it’s about, even if it’s slow progress, it’s about making sure there’s progress each day. And, and I think, knowing that closer to when I’m trying to resolve something, it will be like so many hours, and I’ll be so late and stressed. It’s just kind of like a bit of a parameter, because I get before an exhibition just so stressed and obsessive. Like I just I think it’s pretty common, but I just can’t focus on anything else. All the time. I can’t leave it alone. So just knowing that that time is coming, I’m like, Okay, try and keep it pretty calm now. So that you’ve kind of maintained some, I don’t know, sense of being together before the shitstorm arrives.
Kiera Brew Kurec 34:15
Do you kind of sustain that swimming practice through those busy periods as well? or is it something that you’re more flexible about, like, letting go of at certain times?
Kate Power 34:28
I think it kind of does fall to the wayside a bit when I’m like, super to the end, but I do try. Because I find that it’s really important for my mental health to exercise, which is, I feel like it’s an annoying thing to say, because it’s always what people say you should do, but it really is true. I’m having a, If I’m struggling with something and I forget to swim as soon as I go back to the pool, I’m like, ah, but half the problem is that I haven’t been swimming. It’s not that anything wrong. So I try and I try and make sure I keep doing that. Yeah. even, like, you know, even if it’s like half the amount of time I would usually swim.
Nick Breedon 35:12
Yeah you turn up
Kate Power 35:15
Yeah.
Nick Breedon 35:16
Yeah, a lot of a lot of our other guests have said that they use different kind of forms of exercise to help them along with their practice, like, do you have any other resources that you use kind of in times of stress throughout your practice that help?
Kiera Brew Kurec 35:32
or any help you resources that have been influential to your practice?
Kate Power 35:41
Like, in a destructive way, drinking, that’s not a healthy practice, but I think for letting steam off and for letting go of it, I find drinking kind of helpful. Um, it kind of is a bit of a part of the creative process for me as well. Um, and, you know, like drinking and then in hand in hand with that dancing. As a kind of, like, letting go. Um, I read a lot. So that’s like, as a form of research, but also as a form of I don’t want to say inspiration. What’s another word? Just like, extra ideas.
Nick Breedon 36:33
Yeah, influence.
Kate Power 36:36
Yeah, just input.
Kiera Brew Kurec 36:38
gathering information.
Kate Power 36:39
Yeah. And, you know, I read a lot of short stories, because I think that works for me and my work to have these sort of small snippets of other worlds. Also, I read a lot of biographies. And I think, biographies of artists that I really like a great because it kind of reminds you that there isn’t a path that’s pre determined for anyone like you, you do the things leading on from one another and that’s how our life is made. It’s not like this thing that makes sense. Beforehand or anything. I always feel really good when I’m reading artists, biographies. A coupple that I’ve read, I read Audrey Lorde’s biography, I’m beginning of the year called Zami, and it’s so good. And that because, you know, she had so many jobs, and was kind of working as a writer, ongoing the whole time as well, but was just developing herself in her own way and discovering her sexuality and traveling. Yeah, it was just kind of like a picture of a really full life. Also, um, I read Chris Kraus his biography of Kathy Acker, that’s great as well, for similar reasons. But just, you know, getting a sense of how people kind of go from one impulse to the other, and you don’t have to stay the same. And how you kind of change your form as an artist as well. How are you move from something that you knew into uncertainty and then that becomes what you know, and then that changes again. So I think I sort of liked that book for that reason. I like walking as well. Oh, going to artists talks, like, is really useful as well. Just listening to other people talk about their ideas and their work. It gets you out of your own spaces I think.
Kiera Brew Kurec 38:47
For anyone who is listening, because you’re obviously in South Australia, and if anyone that’s listening Interstate and who might be kind of traveling to South Australia, at any point, is there any spaces that have regular artist talks that they should be looking at the calendars for or any institutions that offer regular artist talks that you know of?
Kate Power 39:11
Well, ACE Open usually do an artist talk for their program, and they usually have events with their exhibitions now as well. The last artists they exhibited there was Elyas Alavi, and he had like, two performances and artists talk and then a workshop as well. But yeah, Ace, Felt space do text club, which is they discuss the text in line with the exhibition each month. Vital Statistics often have artist talks as well or like showings. That’s another thing I was gonna say as a resource as well. I feel like every time I go to vitals, it’s so I just feel really, rejuvinated and and connected to the art community here. And yeah, the artists that they invite to work with are always I don’t know, it’s just like a really sincere connection with work. Yeah. And it’s sort of just so critically engaged and what word like genuine or something. But yeah, they have a lot of talks there. The Art Gallery, do you know? yeah, we sort of lost the ARI’s or artist spaces recently. So it’s a little bit. A little bit less going on.
Kiera Brew Kurec 40:45
Thanks for sharing those. And for anyone who’s listening who is in Melbourne, or who will be traveling to Melbourne, the VCA do art forum on Thursdays that I’m pretty sure open to the public. I think anyone can go along to them and they are on at mid day and Monash University, do some open ones as well. They’re good, too. It’s I think it’s always nice, like if you’re in a new city or traveling somewhere to be able to go to artist talks and connect and engage with the arts community that way as well.
Kate Power 41:21
Yeah. There is like a, there is a program as part of the uni that I think they also have artist talks aswell.
Nick Breedon 41:31
If you could travel back through time to the start of your career and tell you something, tell yourself something that, you know, now what, what would you tell yourself?
Kate Power 41:38
I think I would just say, go at your own pace. And maybe sort of just do what feels right. In terms of, you know, you don’t have to say yes, because it’s a great opportunity. And also, it’s okay to change your mind. If something’s not feeling quite right. I think I always feel like doing the hardest thing or saying yes, and figuring it out, even if it doesn’t feel good. is, you know, just is the best way to work hard. But it’s meant that maybe. Yeah, I’ve just sort of done a few things that weren’t right for the moment. I think also staying in the moment with the work and feeling connected to it and sort of trusting it without feeling too concerned where it’s going or if it’s going in the right direction. Yeah, just like, being with the work and trusting the work. And not workking about the bigger picture so much.
Kiera Brew Kurec 42:54
Yeah, I think, um I spoke about this recently at a talk that we did about trusting your practice and like, or trusting the work, and kind of letting it be, you know, not of you, but like, being alongside you. And knowing that it has its own thing and going on, and your practice kind of shows up, when you show up. And it’s kind of this, I think, when I figured that out, it made me have a lot less anxiety about my practice, and whether the work was gonna, like, be good or not. It was just like, okay, I trust the work. And I trust my practice. I don’t need to kind of get in the way too much.
Kate Power 43:41
And I think that whole thing of goodness, you really can quash some really good work. And that’s, I think that’s what I mean with staying in the moment, like not, not worrying if it’s good, whatever that means. Because it’s just such a paralyzing concept. And it really does sort of shut down some different ideas. You know, you’re not leaning into the unknown so much. You’re like, what is good? How do I know what good is from previous examples? That can kind of box you in a bit.
Kiera Brew Kurec 44:17
Yeah. Yeah. If people want to go and see your work, do you have a website that people can check out your work on?
Kate Power 44:26
Oh, yeah, it’s katepowerartists.com
Kiera Brew Kurec 44:29
Cool. And do you have an Instagram that is public at all?
Kate Power 44:34
I do. It’s @kate___power.
Kiera Brew Kurec 44:39
Great. Well, thank you so much for speaking with us today and sharing your story as well.
Kate Power 44:47
Oh your welcome thanks for having me.
Nick Breedon 44:49
Thanks Kate.
This episode is recorded on the sovereign Land of the Kulin nation. We acknowledge the traditional owners of the land the Wurundjeri people and pay respects to elder’s past present and emerging.
Kiera Brew Kurec 45:01
Thanks for listening to Pro Prac you can listen to other episodes and subscribe to us on iTunes or wherever you get your podcasts. You can stay up to date with what we’re up to on Instagram at @propracpodcast, or send us an email at propracpod@gmail.com