This year the Future Collective welcomed its inaugural Artist Ambassador, d harding, a descendant of the Bidjara, Ghungalu and Garingbal peoples of central Queensland. A rich program of events, developed in collaboration with d, introduced members to a number of emerging and established contemporary Queensland artists. Artlines interviewed d about their practice and navigating the art world.

Explain the essence of your practice in 50 words or less.
Around 2017, the main intentions of my practice shifted from seeking to document the social and political histories of my family and community in a historical sense, to seeking out forms for contemporary art practices that might further the cultural continuums already existing in central Queensland.

Describe your studio or work area.
My studio is currently split between a ‘clean’ space at home and another space in a disused industrial site.

What has been a seminal experience in your development as an artist?
My development as an artist has come from exposure to some of the multiple art histories concurrently thriving in addition to the centres of mainstream art history(s).

What work do you most enjoying doing?
I always love working with timber — particularly learning how to work with central Queensland native timbers.

What research do you do?
I watch a lot of videos published by art institutions on YouTube — lectures, artist talks, seminars — while I’m kicking about at home. It’s a great way to do passive research.

Are artists valued in our society?
May I suggest that artists could be better understood in Australian society? Further to recognition, support or notoriety, I think artists are undervalued among Australian political and societal value systems. In many societies, including Aboriginal communities, artists, makers, dancers, song-people and philosophers are valued for their roles among the vitality of society and belief systems.

How often do you visit art galleries or museums?
Every chance I get. It’s great to go back again and again to learn more about a particular work, or to repeatedly experience a hang of an exhibition.

Where would you most like to live?
In a place with a bushland garden.

What do you procrastinate over?
Email. I’ll even make more work for myself, in the avoidance of emailing.

What’s the best piece of advice you’ve been given?
A friend once shared a Leunig piece with me in which the character Mr Curly replied to his penpal, Vasco Pyjama. Mr Curly wrote: ‘Dear Vasco, in response to your question, “What is worth doing and what is worth having?” I would like to say simply this. It is worth doing nothing and having a rest; in spite of all the difficulty it may cause, you must rest Vasco — otherwise you will become RESTLESS!’

Feature image: d harding creating their site-specific wall painting Wall Composition in Reckitt’s Blue 2017, QAG, September 2017 / © The artist / Photograph: C Callistemon, QAGOMA