Lyndal Jones is a visual artist who lives and works in Melbourne.

Image Lyndal Jones

Lyndal Jones is a visual artist who lives and works in Melbourne. She addresses socially important themes through very long-term projects shown as performances and video installations.

Her artworks are characterised by her use of a female voice to tell stories in order to offer a woman’s perspective and by engaging viewers as active participants, often using interactive technologies to do so.

In 1993 she received an Australian Artists Creative Fellowship (a ‘Keating’) from the Australian Government and in 2001 represented Australia at the Venice Biennale.

She was Professor of Contemporary Art at RMIT University from 2007 to mid-2016.

The Project

Lyndal will undertake 3 months full-time initial research for new 10 year project Gardening on Mars while undertaking artist residency at The Living Museum of the West. Lyndal will work with museum staff, local volunteers and 2 experts (Paul Garry – a set builder for film and Annalea Beattie, an

artist and board member of the Australian Mars Society) to explore issues of survival, colonisation, relations between humans, plants and other matter.

What does being awarded a Creators Fund grant mean to you?

This grant enables me to invite highly skilled and knowledgeable arts professionals to work on initial research that will determine the direction of my next 10 years of art practice because I am able, through the grant, to pay them fees that bring dignity and recognition of their time and expertise to arts research.

It also ensures that I can spend 3 months working full-time on this project thus enabling a number of possible artworks to be developed.

How important is 'time' to you, as an artist/creative professional?

My career as an artist over 40 years has been defined by my decision to always work on very long-term projects that address culturally important issues from a feminist perspective. The most important time has always been the very beginning. What is both culturally urgent but also important? What might the materials, the people, the approach be? How might I need to change in my own influences to be open to new ideas, skills, contexts?

No matter how difficult, I have always sought time at the start of new artworks – and most particularly of new projects to enable me to work in the present, rather than be stuck in the past.. And that takes real time. That is what has enabled me to continue as an artist.

What are you most looking forward to over the months ahead?

I’m looking forward to being able to ride my bike to the Living Museum on a daily basis to be influenced by the site itself and the people who work there, to engaging with local community members who might want to become involved, (in particular, those who understand from their own histories what it is to be colonised) and to spending time creating objects to do with Mars with set-builder Paul Garry and to exploring the resources and expertise of the Australian Mars Society through contact with artist and Mars Society Board member Annalea Beattie. Through these interactions I’m really looking forward to creating a number of informal performance and installation studies to be shown at the Living Museum.

Where would like to see yourself at the end of this process? How do you anticipate your career will develop as a result?

At the end of this process I imagine I will have a number of specific directions to pursue accompanied by documentation of a number of art-projects/studies to show galleries and arts organisations and several people who might become part of future projects.

I believe the grant and documentation of the studies made during this time could also be useful in leveraging further funding for large-scale performance and installation projects for gardening on Mars.