Photographer
Matt Palmer is an award-winning photographic artist based in Alpine Victoria. Passionate about our natural world, and photographs that tell a story or establish a sense of place, Matt has won over 200 awards across documentary and landscape photography categories.
Can you share a brief overview of your creative journey, from when you first started pursuing your creative career to where you are now?
I worked in the commercial side of design and my initial creative expression was through journalistic live music photography, which I captured over 15 years. Gradually as I aged I found I had more to say – particularly around humanities treatment of Earth and of each other. So my work has become more and more about expressing these ideas.
What inspired you to become an artist, and how did you decide to pursue it as a career?
I fell into the creative industries at a very young age but I wouldn’t say I created art until sometime later. Initially it was to mock the concept of art through a series of incredibly bad drawings which gained some notoriety. When I discovered photography and its possibilities, and found that I was quite good at it, it was a liberating way to express myself and connect to the world around us. I’m not sure I chose it as a career, it was more that I found that I didn’t want to do anything else. I spent a lot of years working for others and building skills in a commercial context, and I think while I didn’t enjoy some years of that, it better equipped me for the business and the reality of being an artist that can make a living. I’d like to think we should be surviving artists rather than struggling artists. Even better – thriving.
How do you balance your creative pursuits with the practical aspects of being an artist, such as marketing, networking, and financial management?
Balancing creative pursuits with the business side of art can vary greatly depending on what you want to achieve. If you’re happy being a commercial artist and working on commission then starting from the business side and thinking about how your art can translate into a product or service is important. If you’re a non-commissioned artist who has a compulsion to communicate personal expression through art, then you want to start with the art first, and then work out how it fits into the business afterwards. As a gallery owner with my partner we’re very careful to ensure our gallery doesn’t become a display of our most popular and commercially viable works. It needs to be a space where we can sell work, but also where we can expose visitors to new ideas and ways of creating. It also makes it a lot more fun for us when we’re excited about the work too.
What is the most rewarding aspect of being a creative person?
Creativity is a way to make sense of our world and to view things from different angles. It builds greater understanding and unveils new possibilities. I think that’s an exciting way to be.
What keeps you motivated and passionate about your craft?
“If you want to be a better photographer, stand in front of more interesting stuff.” – (unconfirmed) Jim Richardson Being a photographer for me allows me to experience and see some very interesting things. I’m excited to revisit Iceland for the third time at the time of writing, and Svalbard early next year during winter. As a holiday itinerary it’s a completely mad thing to do. As a landscape photographer, sometimes doing mad things can have the greatest rewards. That said safety is of course important and well planned for! I’m motivated and passionate every time I see a scene that few get to experience. A lot of the time it doesn’t happen, but when all of the elements align with amazing light or conditions, there’s nothing else quite like it. It’s like being a child unleashed in a candy store. The same can be true of photographing people when you have build a real connection and you are now photographing who someone is, not just what they look like.
What advice would you give to young artists who are just starting out and considering a creative career?
The boring answer is that it doesn’t hurt to pick up as many practical skills as possible. Learning how an office runs, how to make a website, customer service skills, or even how to put up drywall. These all sound boring and can be, but they are skills that will benefit for life. Beyond that, no matter what you’re doing, keep creating. You should never need an invitation to create. I am often told by emerging photographers that they aren’t shooting because no one has asked them to do any jobs lately. Give yourself jobs. Create a project. Do something amazing. You don’t need an invite.
How important is it for artists to find their unique style or voice?
Finding your own style or voice can certainly create a space for you in your art scene and in the market. There are many successful artists out there that simply create a pleasing standard of work that is commercially viable, and are unlikely to ever be seen as doing anything particularly unique however. So it depends on you and your personal goals and values as to how important it is.
How did you discover and develop your own artistic identity?
When I was a lot younger there was a lot of talk about having a unique voice or identity and it seemed every young creator was searching for theirs. I think you get such a thing simply by doing and not thinking too hard about it – in a general sense. Just create lots of work. If you are starting out, don’t stress about identity, just make things, lots of things. The making of things will inevitably lead you down pathways in the future that contribute to your artistic identity. It will happen organically. That said I not only have an artistic identity, I also have projects that have identities which may not be mine. Those are driven by deliberate choices as to what creative decisions will most benefit a body of work. For example a sporting documentary project of mine was all black and white to capture the grit and emotion of the sport, but with the benefit of also stripping away the sponsorship and background colours that would distract from that. So for your career – make lots of things, experiment, find what you gravitate towards. For projects – sit down and really think about what the project itself needs.
Can you talk about the role of failure and perseverance in the life of an artist?
Failure is just another step on the road to success in art. If I’m in a proper discussion in the gallery about the creation of our work, I’ll often say that while the piece on the wall is stunning, it may have taken 8-9 visits to that location for the conditions to align perfectly. That’s 8-9 failures for 1 success. I can’t speak to other areas of art except to say it’s highly unlikely that anyone would go from relative unknown to mastering their craft without a whole lot of character-forming failure in the middle. Embrace it, learn from it, release it, and keep going.
What are some misconceptions or myths about being an artist that you would like to debunk?
There might be a perception that there is a lot of downtime in being an artist, perhaps that it is a lazy profession. But it’s actually a profession that rewards hard work, and when you work for yourself the hours can often be long! In the words of Pablo Picasso “Inspiration exists, but it has to find you working”.
How do you navigate the art industry and find opportunities to showcase your work or collaborate with others?
While we have a gallery that engages with the general public for most of our income, we still think it’s important to add value to your own name by exhibiting work that is important to you. That work may not always be a fit even for our own gallery. In the spirit of collaboration we created a group of Australia’s top landscape photographers called Lumen Australis. We haven’t put ourselves out there yet but are working on our first book together. It’s been an amazing process and allowed all of us to see how the others work and see. During Covid we would meet on Zoom to discuss artworks we like, and most importantly, dissect why we liked them. The photographers were met by engaging with the broader photography community and finding those kindred spirits you can relate to and work with. I also think if you are successful in the arts you will have a journey where people that you aspire to become your peers. Everyone at the end of the day is just a person. Don’t be overawed and while there are some prickly characters out there, many can be incredibly kind. Work to elevate your whole artform and industry, don’t put others down, and be one of the kind people in your industry.
What are some common challenges artists face in terms of recognition and financial stability, and how can they be addressed?
I think firstly, people indulge in the idea of the starving or struggling artist far too much. You’re a person just like everyone else, if you do the work and contribute you deserve to make a decent income just like everyone else. There is no glory or integrity solely in being poor. Making money allows you to do more of what you love and less of what you don’t love, it’s a good thing. If you have the option of making a significant amount of money, consider it against what you can achieve with that money, rather than seeing it as a dollar value. That said, I think you also have to have some values, and we are careful not to be hypocritical in our advocacy for the Earth that we photograph. I think one of the major challenges is that artists can have a very fluctuating income. I would say if you are able to, look into some passive sources of income that can help your lows be a little more padded. When you have your highs, don’t be tempted to spend it all at once. My partner and I pay ourselves a weekly wage. If we have a great period that wage may double for a little bit, and when we’re having a lean period it may half. But it will never be nothing and it will never be something exorbitant. It’s also totally OK to have a day job, and many amazing artists throughout Australia use day jobs and other professions to free themselves to create the art that they want to create without restriction. While it would be lovely to make art in a utopia where we are all compensated for what we create, it unfortunately does not work that way. Don’t feel bad if you have to supplement your arts practice with an income for a while especially while finding your feet.
How do you stay connected with other artists and the larger creative community?
I was a ‘lone wolf’ for a long time, not really connecting with my peers and doing my own thing. In retrospect that was a mistake that I wasn’t intentionally making. All my most accelerated learning has either been from being in a workplace of like-minded and talented individuals or by embracing the wider industry and its organisations. I went from being a nobody in my industry to the Australian Professional Photographer of the Year within 7 years. It was a bit of luck, but I’d never have had that luck if I hadn’t exposed myself to a level of feedback and critique that I had never experienced before. Having others of your own level and higher to get advice from, learn from, and to look at your art – whatever your art may be – is so invaluable. You don’t always have to agree with what they say but always consider where it comes from and why. It will help you better understand your work and how people see it. I’m an introverted person and initially found it quite hard to connect with others. However, I am happy to talk to people if a job I am doing demands it. So early on in my journey I became part of a state council that looked after photographers in that state. It gave me a great excuse and reason to talk to any photographer I wanted to and helped me create a network that would later become great friends. Now I’m in the position where I can introduce new people to others and help them overcome the position I was once in.
Can you share any tips for artists to market and promote their work effectively in today’s digital age?
While the world is changing, I think the underlying advice for this has never changed. Know who your audience is, find out everything about that audience that you can, be in spaces where that audience will see you – preferably multiple times. The social media platforms, the media, signage etc. all changes but this premise sits underneath all of it. A good activity that I recommend is go a large shopping centre and visit all of the shops that your ideal customers would shop from. Take the free marketing stuff. Observe how windows are styled, the signage, the product, how the product is talked about, what marketing materials they have. Learn from this and apply some of what they do to your own practice. These companies spend millions reaching the same audience you’re trying to reach so it only makes sense to observe what they are doing, both good and bad.
Are there any specific resources, workshops, or organisations you would recommend for young artists who want to further develop their skills and knowledge?
THE GAP by Ira Glass from Daniel Sax on Vimeo.
Watch THE GAP by Ira Glass. It applies to any creative. The rest of the question is far too broad for me to begin! 😊
How do you approach self-criticism and growth as an artist?
I think self-criticism and growth is very personal. I find it hard to be satisfied and that drives me to create a lot but it is also makes it hard to celebrate success. It’s an area of life I have not mastered and need to improve in. When I was first submitting a folio that led to me winning Australian Professional Photographer of the Year I almost gave up. I had looked at my own work so much that I had become frustrated. Was it even that good? In the end I just made a decision to let go of any outcomes and get it done. Lucky I did! So I probably can’t give out the best advice, but I can say if you’re struggling and sometimes thinking that your work, which is actually good, feels a bit subpar to you, then you are not alone. It’s not the work, it’s how you think, and it’s good to be mindful of that.
What strategies do you use to continually improve your craft?
I always expose my work to critique from people whose work and opinions I respect. It’s important to build yourself a personal network of people who you can get these honest opinions from. Once again – they may not always be right, but it’s still important to consider why they may think a certain way about your work.
Have you ever experienced creative blocks or periods of low inspiration? If so, how did you overcome them?
Absolutely. Sometimes it’s important to take a step back. Creative people rarely take breaks or holidays. When was the last time you did? If it’s what you are meant to be doing, it will call you back when you’re ready. However if it’s a creative work on commission, sometimes you just have to power through and understand that while you may not be at your most creative, your level of craft will carry you through.
Do you believe it’s necessary to have a degree in art to succeed?
Absolutely not. It could be hugely beneficial, it could help you establish networks, show your work, give you an advantage in entering the industry. But there are many pathways to learning and development. Individuals need to work out what is going to best work for them. If someone is considering a degree in art I would recommend they also use it as a platform to gain another qualification that will be useful to their arts practice such as business or even teaching.
Can you share any memorable experiences or achievements in your artistic career that have had a significant impact on your journey?
I’ve been lucky enough to win some substantial awards and recognition for my work. In photography in particular there are few career defining awards. Even though I have won one of the highest accolades in Australian Photography I still enter awards because just the process of doing so has developed my skills and eye so much. I have a presentation I give where I show names on the screen and get people to put their hands up when they know who the person is. Every single one has been a televised Australian gold medalist at the Olympics. Those that people remember aren’t necessarily those that won a gold medal, or even the most gold medals. They remember those that are at multiple Olympics and use their recognition to make a societal impact. Cathy Freeman OAM is an Australian icon and yet only won a single gold medal. So I’d say it’s not necessarily what you win, it’s what you do with it. I’ve been able to use my success as a platform to help others such as communities that have been stereotyped, or advocating for wildlife in Tasmania.
Is there anything else you would like to share with young artists aspiring to pursue a creative career?
Connect with your peers and if you can find mentoring. Be prepared to value that and even consider it a business expense. It will be worth it. Understand that some creatives aren’t able to mentor for free as they have to juggle their own business as well as many such requests.
Matt can be found at: mattpalmer.co
