In Conversation with Silvi Glattauer
Silvi Glattauer, a Naarm, Melbourne-based photo-media artist, seamlessly integrates digital and handmade techniques, notably excelling in the contemporary Photopolymer Photogravure process.
Her work explores the intersection of these methods, reflecting a deep reverence for nature and ecological awareness. Rooted in meticulous gathering and organising of visual inspirations, her art serves as a tangible expression of personal life narratives and connections to the natural world.
Silvi’s pieces, characterised by themes of materiality and object symbolism, aim to forge emotional links between viewers and nature, often using imagery which is heavily manipulated.
Her exhibitions span Australia and international venues, including the Museum of Victoria, and she has received accolades such as the Nillumbik Prize and commissions from theVictorian government.
Silvi’s practice has been enriched by residencies in Barcelona, Cairns, and Argentina, infusing her work with diverse perspectives. Her pieces are held in prestigious institutions and collections globally.
Explore more at www.silvi.com.au.
How did you get into photography – was it by accident or design?
The most significant challenge in my career arose when I made the decision to transition away from commercial work and teaching at higher education institutions to focus solely on my own artistic practice and managing the Baldessin Press Studio. This transition was significant because my art is intricately connected to the studio environment at Baldessin, and I find immense inspiration in working within its natural surroundings.
The decision to commit full-time came at a juncture in my life when my children required less of my attention and I could financially afford to forgo a steady income. It’s a decision I wholeheartedly embraced, as my lifestyle and temperament align more closely with the art world than the commercial sphere. Nonetheless, my background in commercial photography has proven invaluable in shaping my approach to creating photo-based artworks.
I now teach photo-based printmaking techniques from my studio and collaborate with artists to help them realise their projects. It’s a dream combination!
So far, what's been the biggest challenge of your career ?
The most significant challenge in my career arose when I made the decision to transitionaway from commercial work and teaching at higher education institutions to focus solely onmy own artistic practice and managing the Baldessin Press Studio. This transition wassignificant because my art is intricately connected to the studio environment at Baldessin,and I find immense inspiration in working within its natural surroundings.The decision to commit full-time came at a juncture in my life when my children requiredless of myattention and I could financially afford to forgo a steady income. It’s a decision Iwholeheartedly embraced, as my lifestyle and temperament align more closely with the artworld than the commercial sphere. Nonetheless, my background in commercialphotography has proven invaluable in shaping my approach to creating photo-basedartworks.I now teach photo-based printmaking techniques from my studio and collaborate withartists to help them realise their projects. It’s a dream combination!
What do you see as important about bringing more creativity to your everyday?
I absolutely love the aspect of Problem-solving within my field. Creativity encourages thinking outside the box and finding innovative solutions to challenges. For me it nurtures a mindset of exploration and experimentation, which I share with the artists I work with. I quite often reach out to my networks in the Photogravure community for advice on a specific technique I’m needing to perfect. Art can be a very lonely pursuit but it can also be the vehicle for collaboration and knowledge sharing. Every project I work on challenges me to expand my skills. I’m excited to keep learning and discovering through my art practice.
Is there anything you wish you’d done differently?
Reflecting on my journey, I ponder if there are aspects I would have approached differently. In my case, the evolution of my professional life has been intertwined with the ebbs and flows of family life. I recognised that the transition into my art practice was most opportune when I could sense its viability within the context of my familial obligations.
Looking back, I see how important it was to make sure my work fit with my family’s needs. It made the transition easier and helped me balance my art and family life better.
Advice for someone wanting to make the transition into a creative field?
I will often work with commercial photographers and designers who want incorporate fine art into their practice.
It’s not easy to reengineer your life to make a career change. It can be a challenge, but also a fantastic opportunity.
Three times in my adult life, I have taken the plunge to walk away from a steady income to try out new opportunities and each time it’s been scary, but worthwhile. Each time, I have been able to find revenue avenues that may not be directly from my art works, but usually involves some aspect of my art practice. An example of this are the overseas art tours I have created, traveling to locations with groups that are specifically chosen to advance my ideas that translate into art works.
My advice would be to consider blending your current career with creative pursuits initially. This approach allows you to explore your passion while maintaining financial stability. As your creative endeavours gain momentum, you can gradually shift your focus.
Building a successful career in the arts takes time and dedication. Be patient with yourself and your progress. Understand that setbacks are part of the journey, but perseverance pays off in the long run.
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