Featured Artist: Angie Rehe

Education and background:
I moved to Melbourne from a small country town at just 16 to do a year of fine art at TAFE then studied fashion design at RMIT. I didn’t know it at the time but that year at TAFE taught me lifelong valuable art skills that continue to shape my work. I worked for a long time as a designer, for various brands including my own. I was always very art-focused though and loved to draw, taking on occasional freelance projects while I worked full time.

Over the years it became increasingly obvious to me that I was bored with the Australian fashion industry and wanted to draw, so several years ago when the GFC hit and I found myself not being able to think of anyone I wanted to work for, I decided that was “it” and leapt into the unknown realm of freelancing as an illustrator.

Where are you based?
I live in Northcote and have my studio in my house – this is something I love and have always done. I work crazy hours according to deadlines and it’s great being able to just take a short walk and roll into bed when I’m done.

How long have you been a visual artist for?
I’ve been a full-time visual artist for about 7 years, but have been drawing for a long time “on the side”.

What do you feel is your biggest achievement to date?
As a big-picture type of thing, I consider my biggest achievement to have been taking the leap from well-paid full-time design jobs to the great unknown of freelancing in a field I wasn’t really known in. A lot of people thought I was crazy so I had to keep reminding myself that life is too short not to do exactly what you want to do.

On a smaller scale, when I first had some of my illustrations printed in Elle fashion magazine, that was a major high five moment!

What are your creative influences?
Artists such as Egon Shiele and Brett Whiteley, illustrators such as Rene Gruau, Antonio Lopez, Bil Donovan, David Downton, and many photographers who create incredible moods in their images.

What are your favourite tools of the trade?
I love black ink and brush work – permanent ink that I can layer watercolour washes over. I am constantly on the search for the perfect brushes, and the perfect black pencil…Still looking. I’m also very partial to gouache – a medium I used to loath!

How has being able to create edition prints from your originals been influential to your business?
Having a collection of edition prints shows that your images have value, and gives people the chance to own an affordable piece of your work. The quality is so brilliant that many people think they’re original works, which always amuses me.

Tell us a little about your upcoming exhibition.
The idea came about spontaneously then turned into a real “thing” that was listed on this year’s VAMFF (fashion festival) Cultural Program. Last year I produced a series of illustrations for Le Louvre boutique in Melbourne, and it was so enjoyable due to their love and respect of artists, I thought why not produce a body of work based on the beautiful garments in their store, and exhibit them in the boutique?

The work is displayed informally around the store and there is a set of my edition prints to purchase or order, including 2 massive framed prints that will now remain permanently on their walls.

What’s next?
Now that the exhibition is done it’s back to client work that has been on hold. I also run my own boutique-style fashion illustration classes (www.thedrawingsalon.com), and the new term of classes begins next week, so I am busy!