In conversation: Travis Bell
Image: Tasmanian artist Travis Bell works at his Launceston workshop. Photo: Richard Harmey.
Travis Bell's sculptural ceramic works explore balance, fragility and form through a lens of play and the disciplined execution of craft.
Bell is eager to share what excites him artistically about his chosen medium and material. "The possibilities and potentials of what you can do with ceramics are what excites me most," he said.
"There is still so much I don't know and that's incredibly exciting, as well as this sense of exploration and of making discoveries (often by accident) that pulls me in also.
"The material itself is also formless until given it. It's plastic. Its starting point can be completely apart from its end.
"I like these ideas - and how they mirror us as people."
Through his work, Bell seeks to communicate fun and fluidity to his viewers. When asked about the key concept he wishes to share, he said: "Have fun, I suppose; subvert expectations and traditions, and don't let things stagnate and become still."
As one of 10 Tasmanians invited to participate in QVMAG's RISE exhibition for 2023, Bell has been identified as a significant emerging creative in Tasmania.
He noted that his inclusion in the exhibition has been a 'brewing pot of emotions and feelings'.
"It's a little bit terrifying and bizarre," he said, "while also being surreal and a privilege."
Bell is quick to acknowledge the support that he has received throughout his journey.
"From my parents, Kevin and Linda, and family, to my friends, teachers and mentors," he said. "They've supported me through a large range of means, and the successes I've had are based on the support of others. They've never been pushy or had the 'we want results' kind of thing. They've supported me, 'cause, you know, they're lovely, nice, beautiful people.
"So, this show - which is probably my biggest milestone so far - is in a very personal way a sort of I'm doing a 'thing' to thank them, if that makes sense."
Image: Ceramics artist Travis Bell shapes his latest creation at the wheel. Photo: Richard Harmey.
Bell notes two artists that he met during his studies at the University of Tasmania who influenced his perspective of the art form early in his practice.
"When I started as a student at the University of Tasmania, I came to study illustration, not ceramics," he said. "There were two artist-in-residences over my first two semesters there.
"The first was Kelly Austin, and her approach to ceramics wasn't what I had known. It was disciplined, it had an attention to craft, it wasn't about function and the utilitarian.
"For me, it was about potential and relationships between things, and it was different from the very limited knowledge I had. I think that's what drew me in most.
"Then, in the following semester, Corey Beardsley was the artist-in-residence. And, again, it was an approach that was surprising - which then made it incredibly interesting.
"Corey's work was incredibly playful, both in the making, where it was energetic and experiential, and in the final work, which was this work that you explored. And the clay wasn't even part of the final works; its 'shadow' was. The clay was there as a service to the final piece - but not a part of it. This was another artist who didn't make a pot or something figurative.
"It was this unexpected and unknown (to me) quality of both artists' works that really influenced me."
Bell discusses the challenges of being an early career artist, admitting that he can be his own enemy: "Motivation can be a difficult thing to grab hold of. Life and everything that comes with it makes living busy, both physically and inside your own head.
"I've been able to, during my time as an early career artist, get a studio, and get these great creative jobs and amazing opportunities. But the biggest hurdle has been myself. Both in motivation and being disciplined and getting into the studio, I'm what makes it challenging."
To overcome these hurdles, Bell draws inspiration from the local artistic community.
"One of the major loves I have for ceramics is that it's a very community-orientated art form," he said.
"We make, as part of a studio of makers, all together at the same time. There are social media pages where you can ask and answer questions. There are even wood firings that bring a group of people together - to drink beer, eat Tim Tams and singe eyebrows together.
"These are the types of things that I love about ceramics, and what I feel Tasmania strengthens. The closeness of life in Tassie pushes community."
Image: Tasmanian artist Travis Bell. Photo: Richard Harmey.
When asked about what would help him and other emerging artists survive and grow, he answered: "This biennial is great because it gives emerging artists something to strive for that is catered towards them, which is great!
"More broadly - more institutional supports would be good, and also mentoring or how-to sessions on things like taxes, marketing yourself, etc.; Practical life lessons for artists - instead of going in blind and your mental health taking a hit."
His advice for artists starting on their own artistic journey: "Take every opportunity you can while making your own. There's a tendency (which I have and am growing out of) to wait for something to happen, for someone to come to you and give the thing to you. Don't do this.
"Be ambitious and try. Apply for all the shows, or make your own. Can't find a studio space? Get a group of artists and do it together. Want to have a residency? Ask your old sculpture teacher or high school teacher if they'll have you back as an artist-in-residence. Want to combine education and travel? Do an exchange and grow as a person and as an artist.
"The general gist of what I'm trying to say is that you really have to be ambitious and give it a shot. Take every opportunity you can and make your own.
"Oh, and also, reputation matters. We're a small yet strong community in Tasmania, people talk and reputations stick - therefore, treat people with respect."