In The Studio:Shane Bonsujet
CHAPTER 15.
MOB DEEP
in the studio with shane bonsujet
This November, Melbourne-based artist Shane Bonsujet brings his bold, boundary-pushing work to Wester Gallery for his highly anticipated solo exhibition, Mea Culpa. Known for his evocative, thought-provoking pieces that explore themes of guilt, redemption, and the complexities of the human condition, Bonsujet has earned his place as one of Australia’s most compelling contemporary artists.
In this exclusive Q+A, we step inside Shane's creative space to uncover the driving forces behind his latest works, his unique approach to art, and what visitors can expect from his upcoming show at Newcastle’s Wester Gallery. Dive into the mind of an artist unafraid to challenge perceptions, as we explore how his Melbourne roots influence his practice and why Mea Culpa is set to make waves in the art world.
Stay tuned to Wester Gallery as we prepare to showcase this unmissable exhibition in November, where Bonsujet’s mastery of visual storytelling will take center stage.
Welcome! To kick things off, could you tell us a bit about yourself and your artistic journey and what led you to the style you work with today?
My name is Shane Bonsujet and I'm a self-taught contemporary artist from Melbourne. I have been painting for about 5 years now, but as far back as I can remember I've always been into art. Even as a child I was always scribbling and drawing on anything I could find. As a child there were always marks on the walls from something I had drawn haha. I have always been drawn to naive art, and even now I find my paintings are so reminiscent of what I would draw as a child. I love the simplicity and honesty of creating paintings in the most uncomplicated way I can. There's a care-free and liberating nature to painting in that style that I find truly rewarding.
Your art has a distinct voice that’s both raw and refined, can you describe the moment or piece that you feel really defined your current artistic identity?
I’m mindful of creating work that isn't overly complicated but still maintains depth. It’s a balance I've had to grow and nurture and I want my work to be created in a natural and organic way. I don't want it to be done in a calculated or contrived way. Painting to me is really about finding a balance between thinking and feeling. I created a painting titled ‘Native’ which took 30 mins to create. The process was so seamless and I found myself just painting to a natural rhythm, not overthinking the technique or concept and I was just flowing with the energy of it all. It was one of my favourite works and I remember the feeling after, I knew that was the feeling i wanted when i paint. It was a bit of an awakening for me. And since that work I’ve always tried to lean into my instinct and tried to keep a balance of leading and following the direction of the work.
Wester is all about the intersection of visual narratives and personal stories. How do personal experiences shape the themes you explore in your work?
My art practice acts as a journal for me. I think about things a lot and this comes out in my work. I like to explore my own ideas and feelings and maintain a space of creativity to give voice to this. My art is very personal to me, I often paint about life and painting to me is really about connection and understanding, with myself and the audience.
We're fascinated by the process as much as the work, could you take us through your creative process?
My work is intuitive and instinctual and I am initially inspired by a feeling or an idea and that starts the journey. My process is then to move around the paint, free from control and feeling it out. I'm then looking for all the elements and aspects to work in collaboration and technique completely takes over. Once I'm drawn to the work beyond how it looks, that's usually the signs I'm looking for.
People often discuss the relationship between artist and space and people love to see inside an artist’s creative space. How does the physical space in which you create affect your output?
I think it's very important for creatives to have a space where you are free to create, experiment and explore your work and the possibilities. But I also think it comes down to your mindset. For a long time when I first started I didn't have a proper space but that didn't stop me. I would go to parks and spend a couple hours painting in the sun or just paint in my room. Having said that, I think you need the mindset and a space to really reach your full potential.
Music is a big part of Wester; we like to curate playlists for every exhibition, and it often plays a big part in setting the tone and pace in the studio. What’s on your playlist while you work and how does it influence the mood of your pieces?
Music is integral to my practice. I think it’s just as important to me as painting itself. I listen to alot of music when I'm working, it helps me tap into a rhythm and ease into the process. I’m often inspired by music in my paintings, from certain lyrics I hear to the emotions I get from a song. My taste can vary depending on how I feel, from Kendrick Lamar to Sam Cooke to Ludovico Einaudi, I’m always listening to something. I get completely immersed into the music as much as I do with painting and it helps get my creativity going.
We’re always interested in the diverse methods that artist use. Are there any unusual techniques that might play a key role in your works?
I tend to keep everything in my work, even something i didn't intend. I find it keeps the work honest and plays a part in its history. I will also draw/paint with my non-dominant hand and sometimes I intentionally control my visibility by turning the lights lower, this forces me out of my comfort zone and to be more confident with colour choice and bolder with gestures.
Inspiration can be found in the most unexpected places. Can you share an unusual source of inspiration that has surprised you with the impact it has had on your work?
I painted a whole series of text based works because I didn't want to have the advantage of reference. I wanted to challenge myself to create works that were interesting with nothing to go on except ideas. This actually helped me develop my thought process and instincts when I did paint something with visual representation as I was able to think about narrative a bit more.
Many artists are deeply influenced by their environments. How does your geographical location or cultural background shape your artistic expressions?
Being a person of colour I’m deeply inspired by my history and ethnicity. I'm very proud of my cultural background and this offers a unique perspective on the themes and concepts I explore with my work. I often paint on themes to do with identity, racism and my cultural background.
Many of the people that may come across our site and journal are artist themselves. Is there any advice you would give to someone just starting out in the art world?
Don’t be afraid to try things. There’s something to learn from everything, and positive or negative, all of it is part of gaining experience when first starting out. Take yourself out of your comfort zone and challenge yourself, turn over every leaf and move beyond safety.
Are there any challenging projects you have undertaken? And what you may have learned from that experience?
Some of the commissions I've done I've found challenging, The way I paint and my process is very much a free-flowing intuitive one. My art is personal and so when I’m creating something that's personal to someone else that can be a bit of an adjustment. I find it's just really about shifting the mindset and looking at the work a bit differently, that allows me to get something out of it.
Sustainability and art are increasingly intersecting. How do you consider environmental or ethical factors in your practice?
There’s always room to improve in these areas for me. I try to be mindful of what paint and brushes I use, how they are used and the way they are discarded. I’m also mindful of recycling packing supplies and boxes. I did a whole series of works where I painted on found objects and hard rubbish found on the side of the road. I’m growing my awareness of the impact I have as an artist and creating art, what that means for the environment and so on. I’ve also painted several works exploring this topic such as ‘Greener pastures’, ‘More fans’ and ‘Prime’.
Art can often challenge or comfort. Do you aim for your work to provoke, soother, perhaps a bit of both? How do you balance these elements? And are they at the forefront when creating?
When I initially started painting a lot of my work was very dark. A Lot of my paintings explore themes of depression, trauma and mental health and well-being. Art is very therapeutic and cathartic for me and as I've gone further into my healing journey I try to reflect empowerment. At the end of the day it's honest to me and my story, and because my work is personal there's always risk. But I wouldn't have it any other way and I really don't want to make safe art. It would just feel like a cage to me.
Do you have a piece with a particularly meaningful backstory or significant value? Could you share its story with us?
I remember one of the first paintings I ever sold. I was out in the middle of the desert doing a fly in fly out gig and the painting was supposed to be heading off to New York. I was panicking as I was away on site for work and not due back home for weeks. So i had to quickly call back home to arrange it getting packed and shipped. It was thankfully packed and shipped. It was a whole range of emotions from disbelief and excitement of the sale to complete panic and anxiety haha.
Looking forward, where do you see your practice going in the next few years? Are there new mediums, themes or challenges you’re eager to explore?
I’m very excited to continue developing my style and voice. I feel as though i've been continuously learning and a lot of things are starting to come together for my work. I'd also like to focus on the international art market and greater exposure.
The art world is coming a bit more collaborative. Is there an artist you would love to collaborate with, and what would you hope to create?
I’d love to work with a musician or musical artist one day. Music is a big part of my work and I think it would be great. I could create a body of work to their sound or perhaps create artwork for their upcoming project.
How has social media's transformation of art sharing and rapid image consumption impacted your career, and how do you navigate the commercial pressures of the art market?
I think there’s definitely pros and cons. Social media has allowed me to reach a far greater audience. It's a great resource in that sense, of connecting your art to people and that's sort of how it initially was I think. It's been gradually moving from that to something else, what people do to be seen. I’m not a fan of that. It depends on how people use it and I know every artist approaches this side of things differently but for me, I personally don't want to be a content creator to be seen, it's just not worth it for me. It would feel like I'm undervaluing the work and selling a product and over-saturating myself. I'm always trying to find a balance of getting my art out there, but not at the cost of it. The pressures of the art market and selling art and being seen will always be there, I just keep reminding myself that I'm here to make art and enjoy doing it and trust the rest will be what it is.
Finally, what’s next for you? Any upcoming projects or exhibitions that we should be looking out for?
I have nothing planned for the rest of the year as I have personal commitments that require my attention. But I plan on doing more exhibitions next year!