As part of Sydney Contemporary 2024, Saint Cloche presents 'Metamorphosis' featuring our three talented artists. In this insightful Q&A, we delve into the creative minds behind the works, exploring their inspirations, techniques, and the stories that shape their art.

Saxon Quinn

You were with Saint Cloche last year for Sydney contemporary. How do you feel your artistic practice has metamorphosed in the past year? How does this collection feel different to your previous showing?

This year's body of work has definitely changed/matured, whilst there are still many references to my own story and memories, much like a flower in bloom - pockets of the works burst with new thick textural markings and figures. Bodies and faces appear dancing and making their way across the works. Specific references to art movements and periods in time, whereas the previous works were tied closely to my own memories and influences.

Did these works develop together or did you have one that speaks to you as a starting point?

This body of work actually began with the biggest piece of the show, 'Sunglasses at night'. It was always to be the hero piece of my work, the largest work I had created todate and the one that would help guide the rest of the works. The sculptural pieces were the last to be created as each of the three small heads are 3D studies of figures seen in three of the paintings showing.

What is a 'must' while you're spending time in Sydney for the show?

Outside of the arts my focus is always food and drink. My usual go-to spot when visiting Sydney is Restaurant Hubert, Delicious French food, live Jazz and Belgium Trappist beers.

What's next after Metamorphosis?

The next cab off the rank is a solo exhibition with Saint Cloche (Oct 16) - this show is titled 'Masked Masks' which is actually the title of this tightknit body of work I'm showing for Metamorphosis.. the show continues on with the same theme of my works, the number of masks we wear amongst others in a way to protect ourselves. 

Bec Smith

Your style is so distinctive, how did you find the process of developing your own style in relation to such an expansive theme?

You’re right – it is an expansive theme! And one central to my own ideas of transformation and evolution. For me the natural occurrence of metamorphosis is one of natural instinct and reoccurring patterns. I leaned heavily on this. For the first time relying directly on my innate design instincts in a way that was true to my nature with further adaptation. The patterns that Evolution have iterated on to master changing from one thing into another is not instant but rather a slow incremental shift, and I feel I’m arriving at this destination, wherever it may be.


While you all have vastly different styles, did you take any inspiration from Evi and Saxon in developing this concept? Did you find any moments of collaboration in the process of developing this show?

I would dearly love to say yes because collaborating with Evi and Saxon would be a hoot to say the least. Although, knowing I was in the company of two talented people who understand both Art and Design; whether our approaches differ, whether undoing their own rule book, releasing internalised processes, or leveraging their skills to expand on their creativity, I felt understood and comforted by this. For me, my shapes and contoured boards are something I’m continuously forming new orientations on. This is the reality of a continuum of ideas. Certainly, I’m adding in new things to respond, because for me there is not a hard line between a concept and my interpretation. So much of what I’m doing speaks to the process of me as a designer and artist, gathering ideas and accumulating ways to express them, so usually there is a line from the last work to the next.

What experiences that are uniquely Sydney do you think compliment a day at Sydney Contemporary?

A morning swim at Bronte Bath, a coffee at Five Ways, and a cocktail at the Ace Hotel of course.

What's next after Metamorphosis?

I have more contoured paintings already in the works. But first my family and I are off to Japan, on tour with my partner, Kit Warhurst’s band Rocket Science. I’ve never been to Japan, I cannot wait to visit the art islands in Osaka, an onsen in Kyoto and the rock and roll Halloween Ball in Tokyo, and of course to visit the art shops, I’m sure it will be mind blowing.

Evi O

This body of work approaches your style in a completely new medium. How was the process of experimenting with such a new medium? Do you think expanding into metal sculpture has changed the way you engage with your works?

The overall feeling of the making of SUPERNOVA is liberating, exciting and nerve-wrecking at the same time, just like anything unknown. My abilities to work with metal was also rather limited so instead of able to have full control like in my paintings, I sought a collaborator - Ian Tran from Domus Vim - for the fabrication of this body of work. Working closely with him in every step I learned a lot of materiality and techniques, something that I used to discover alone. It’s definitely more fun with friends. Documenting the works with Daniel Shipp has also been an important process of activating the artworks as the shadows they create become a layer of richness in the work.

I learn to trust the process and even more the idea. As many sketch and renders you create to plan the execution, there will be surprising elements that appeared in every stage of the making, from understanding how the shapes work actively with light to the coloured shadow bouncing from the colour you put on the back side of a work - it’s not at all magic but it feels magical when the work comes alive on its own once birthed into its spatial context.

SUPERNOVA has given assurance to my never-ending curiosity and new attitudes where nothing feels impossible - ideas, materials, scale - it’s simply time for these pieces to meet the world and deliver positive and optimistic intent I’ve planted in this body of work. It’s definitely a beginning of a new creative era for me.


Metamorphosis is such an expansive concept, what have you drawn from your own life to bring this concept into synthesis with your artistic practice?

I’m convinced that contemporary humans are destined to live a series of lives, rather than just one. Technology and society have shifted us away from the natural, a personal identity is inevitably multiplied and segmented. Living in a multitude of worlds (geographically and virtually) is a part of a enriching one’s existence.

Existing as a human today is both confusing and exciting and I feel like Holometabola (when a caterpillar turns into goo and restructures into a butterfly) is the perfect allegory to this narrative and as seen in my latest body of work SUPERNOVA I’ve put aside everything I know in my mature painting practice and embraced three-dimensionality, aluminium, automotive paint and light as fresh ingredients to my creation. In a much more personal environment, this body of work is a response to my own personal frustration towards various dark states of the current societal worlds, I need to convince myself that change is still possible. The optimistic result of this exercise has also answered certain conflictions within me. A sidenote, I spend considerable amount in nature to zoom out and this has always led to practical enlightenments, hence nature being a recurring scene in my work.

Sydney Contemporary week is always jam-packed! What kind of self-care practices do you have during the week amongst all the busy-ness? Where is your favourite spot to unwind after the show?

Enough sleep is my only non-negotiable. The extroverted part of me thrive in the haze of socials this art fair brings every year to Sydney. The introverted part of me still finds herself having meaningful 1-o-1 moments in calmer corners of Carriageworks. My all-time favourite unwinds include 10 Williams, Bart Jr, Pellegrino 2000 and Ace Hotel’s lobby.

What's next after Metamorphosis?

And next, hmm, honestly the creation of SUPERNOVA has been so consuming I haven’t planned next steps but if I may manifest to the world, I’d love to find large spaces, inside or outside, for me to inject some goo of optimism and positivity.

Read more about Evi on Yellowtrace

'Metamorphosis' is part of Sydney Contemporary 2024
View the exhibition details here