Tell us about your art practice. What made you become a painter?

My art practice is very ritualistic (to the extent that I imagine it may be a maddening process for others). It’s colonisation of the family table, resulting in our household having a lot of kitchen things. For example, murals on the walls inside, painted chairs, painted table-tops, painted taps, kettles, and toasters – I started with painting these everyday objects because it took me a bit of time to get over myself and paint on canvas. The desire to translate emotions into a manageable feeling coupled with the fear of being scared led me to painting.

What does this piece mean to you?

Flow, faith/trust, equanimity, pleasant surprises.

Flow, because at the time the painting was commissioned, I felt safe in my art practice and felt very comfortable ‘in painting’. Faith and trust because I had broken through the idea of a painting being ‘owned’. Equanimity because since I had big-noted myself and said ‘yes’ to the commission, I now had to keep a steady hand and do no more or no less than me. Pleasant surprises because in the end, it didn’t feel like a test of anything, it felt like, and still feels like, the right time, right place, right people sort of thing.

What did you draw inspiration from to complete this work?

It was more who than what; Harry and Glenn came to our house to access my previous work. Their helpful criticism in asking me to paint something with less geometrical confusion; was to see the Anchoram Consulting ‘badge’ as a symbol akin to a sail being a tool for directing a boat. They gave me such a warm vibe and didn’t essentialise me as a person that I felt like if I stuffed up, I could always try again.

Could you tell us a bit about your process?

Anchoram Consulting gave me a very good brief about what they expected and probably the most helpful thing was the specific palette for the painting. Before starting the painting, I had a couple of people give me tips on perspective; options for effective colour contrasts; and technical advice on colour sequencing. In the end, there are four layers to the painting. It was very exciting for the painter to experience the painting revealing itself as the colours and forms in each layer came together on the canvas.

Some of the Anchoram team with artist Felicia Fletcher at the installation.

How do you feel about the piece?

I find it to be a reflection of how much I liked working with blues and greys. While it’s hardly painting royalty, I hope it’s a nice fit for the office.

What did you learn while creating it?

The process of painting a commission can be more challenging than painting instinctively. There is a need to maintain a delicate balance between adhering to the brief and remaining true to my artistic essence and painting “naturally”.

Are there any words of advice for interpreting the work?

I wish that the artwork remains a timeless piece, not a painting people get sick of over time. Much like the ocean or the sky, hopefully looking at it doesn’t get old.

Statement from the Anchoram team

Anchoram would like to thank Felicia for this beautiful art commission that is now hanging proudly in our Canberra head office. We are honoured to display this artwork as a symbol of our Australian roots and connection to the local community. We trust it will serve as a daily inspiration for our Canberra-based people and a welcoming visual for those visiting.