Posted by KB on July 28, 2010
Here at Kluster, we love young talent. Which is why when we saw the work of New Caledonian-born, Sydney-based artist William-Guillaume Saussay, we had to get in touch and pick his brains. We spoke to Will ahead of his upcoming show, A Ciel Ouvert, at Woolloomooloo’s Monstrosity Gallery.
Covered: psychological travels, Jean-Michel Basquiat, breaking boundaries and the definition of an artist.
KB: With your paintings, you’ve invited viewers “to plots their own path across the canvas”. Can you tell us a little bit about the path you’ve chosen to get to where you are today?
William-Guillaume Saussay: I've always been trying to explore the paths on which my mind can take me. Psychological travels are the best to have - by this I mean that from an early age my parents let me explore what I could do with my hands and mind. The key is to not feel limited by our own physical and mental capabilities. Art is like gravity, all it needs is a little push. I have also been studying subjects such as, visual arts, design, fine arts, photography and going towards arts education.
KB: For such a young artist, you have a rather well-developed style. Is this something you set out to achieve or was it a happy accident?
WGS: I suppose you could call it a happy accident, I was simply exploring a lot of different techniques and subjects to work with during the past couple of years. But I truly set out to find my own style and produce pictures that really mean a great deal to me. My father always taught me to try to do the best I can. So I pushed my abilities to a point at which I would make a mistake leading me on a new path.
KB: Were there any artists that particularly inspired you along the way?
WGS: Artists like Jean-Michel Basquiat, Jackson Pollock, Matisse, Tapiez, Joan Miro and Matisse inspired my palette my love of abstraction, but also their intellect inspired mine a lot more. To break through boundaries was the main goal of these artists, and through them I feel the same motivation.
KB: You grew up in New Caledonia, and now work in Australia; is there a difference in the work you’ve produced in these two countries? How influenced are you by your surroundings?
WGS: Growing up in NC I was mainly taking photographs and making video art, and a few drawings, but I rarely painted. Moving to Sydney was the start of it all. My surroundings are often quite present in the pictures I paint, I try to grab as much of what is around me.
KB: Some of your work reminds me of early Sydney Nolan stuff. Have you delved much into Australian art history?
WGS: This is quite surprising; I never really looked at Nolan's work. John Olsen is an Australian artist I enjoy a lot, but besides my studies, Australian art history does not have a massive influence on what I do. I try to stay up to date with what is happening in the Australian art scene.
KB: Your artist statement talks a great deal about the viewer. How much are you influenced by the viewer’s reactions to your work?
WGS: What the viewer sees is often quite interesting, their reactions influence a lot. Although whether they like it or not won't change a thing, I'm always very happy to hear what people have to say. It is for them that I do what I do, the first definition of an artist, as in philosophy classes, is to entertain. To free people's minds is my main intention.
KB: Your name seems to be cropping up at exhibitions all over Sydney – how do you find the current Sydney art scene?
WGS: Like I said, I try to stay up to date with today's scene but it goes so fast, especially with new styles like graffiti becoming more accepted. What is happening in Sydney at the moment is quite exciting, the birth of amazing artist-run galleries like Monstrosity makes artists want to work more and get out there.
KB: And what’s next for you?
WGS: Not really sure for now, definitely more art studies and more and more painting (never enough!)
A Ciel Ouvert is showing at Monstrosity Gallery, 93 Bourke St, Woolloomooloo, August 6-26.
william-guillaume saussay, jean-michel basquiat, monstrosity, painting