Studio Visit and Interview with Michelle Arnott
Michelle Arnott in her studio at Headland Artists Precinct in Mosman.
Studio Visit and Interview with Michelle Arnott
Words by Madeline Young and Michelle Arnott, Photos by Madeline Young.
Sydney-based painter Michelle Arnott has been captivating audiences with her charming miniature landscapes at the gallery for several years. Now, she's unveiling a new solo exhibition titled Vignettes: Ode to the Road Trip at The Corner Store Gallery, running from November 20th to 30th. This collection of small-scale paintings draws inspiration from Michelle’s journeys between Sydney, Orange, and beyond, with each piece capturing a distinct essence of these familiar yet often overlooked landscapes. It’s a heartfelt tribute to the simple beauty of fleeting moments glimpsed on the road.
I recently had the pleasure of visiting Michelle in her fantastic studio at the Headland Artists Precinct in Mosman—a must-see spot if you haven’t been! Check out our full studio visit and interview with Michelle as she shares insights behind this new series and her creative process.
Michelle Arnott working on her new painting Wallerawang.
Tell us a little about your background, when did you start painting?
I've made art and studied art history off and on from school and uni days but childrearing and a demanding position as Head of a large Visual Arts Department took a lot of energy. I would usually make sample works to teach units and explore new media but it wasn't til I stood aside and moved to part time, then escaped that I really felt I could start exploring concepts and focus on painting processes properly. By then I had a real hunger and a million ideas and Covid lockdown gave me the blessing of uninterrupted studio time to consolidate my practice.
Michelle Arnott, Corrugated Carcoar, 2024, Synthetic polymer on canvas, 22.5x28cm framed.
How do you approach the creative process from concept to completion?
I play with ideas in my head and research background, take photos and draft likely compositions and a "family " of images starts to emerge that needs my attention. Most of this takes place in a Visual Arts Process Diary. I love that stage. Halfway through each painting I usually decide I've made a terrible mistake, I apologise to the canvas but persevere as "practice " and usually bring them to resolution. Out of 100's of paintings I think I've totally painted over only 5 so the system is somehow working ?
I have painted in oils, and will again, but at the moment I'm really enjoying how the synthetic acrylic polymers layers "sit into each other "and it seems to take about 5 layers til Im happy-ish.
Michelle Arnott’s studio wall covered in paintings for Vignettes: Ode to the Road Trip.
How do your personal experiences shape your art?
As you know, I usually paint the built environment, often paying homage to iconic structures with a history. I wonder if I'm saluting the notion of survival and enjoying these concrete examples of grace that has withstood? My personal journey yields so many thoughts and observations and other artist's work informs of course. Alain de Botton's earlier writing, especially The Architecture of Happiness ( 2006 ) has had an enormous impact on the conceptual basis of my art making, especially as it explores the powerful relationship we can have with places.
Michelle Arnott, Bathurst with Bats, 2024, Synthetic polymer on canvas, 32.5×27.5cm framed.
Can you describe your studio/workspace and how it influences your creativity?
I am very fortunate to sublease a studio under Harbour Trust in Georges Heights, Middle Head with a great group of artists. I value their company and the conversations about the creative process. The Headland Artist Precinct also has great physical beauty - you can refresh with harbour views and bushwalks, watch the rabbits and eat defensively with one eye on the kookaburras on the deck of the charming repurposed military buildings.
Michelle Arnott, studio detail.
What are you currently working on and what’s next for you?
I'm working on two commissions both of which relate to places of nostalgia for two clients. I don't love commissions but the client's personalities and stories sold me. I'm also preparing an entry for the Glover Prize in Tasmania and profoundly excited about a 3 month Visual Arts residency in the State Library of NSW in the middle of 2025 responding to that place as a hospitable haven, friendly fortress and repository of treasures.
Michelle Arnott in her studio at Headland Artists Precinct in Mosman.
Michelle Arnott, After the Harvest, 2024, Synthetic polymer on canvas, 12.5x32.5cm framed.
Michelle Arnott flipping through her artist books.
Michelle Arnott, studio detail.
Michelle Arnott in her studio at Headland Artists Precinct in Mosman.
Michelle Arnott, Blackheath by Night, 2024, Synthetic polymer on canvas, 27.5x32.5cm framed.
Michelle Arnott, studio detail.
Michelle Arnott, studio detail.
Michelle Arnott mixing colour in her studio.