What is your earliest memory of making art?
I was always drawing as a kid, I would make my own ‘where’s wally’ magazines, comic books, and paper figures, not to mention houses and towns for all my toys. I was never that cool kid at school who could conjure anything he liked with a pen, instead I was the kid sitting next time and trying really hard!
Do you listen to music when you are creating works? If so, what is on high rotation?
It’s shameful to admit some of the hits I regularly rotate. There are lots of ballads, musical theatre and broadway hits and an unhealthy amount of Glee. I think that no good drawing can come without a little dancing.
Left: Todd Fuller, ‘Tiny Dancer (After Degas)’ 2011, copper & pigment on terracotta, 39 x 34 x 22cm
Right: Todd Fuller, ‘Level One, Introduction to Ballet (Barry in the Wings)’ 2011,
chalk, charcoal and acrylic on canvas, 120 x 150cm
When preparing for your last exhibition, did you create works around a theme or did the links between the works reveal themselves later on?
The message comes from the making, the links and story come to light when pushing through the creation process. Evidently, the ideas and narrative unintentional surface from themes and occurrences in my life, sometimes I don’t realise what they are about until close to resolution.
Describe the space in which you create your works (studio, lounge room etc):
I tend to seek studio arrangements through residencies so I change studios often. Everything in it has to be able to moved quickly and easily. At present I have a great studio at the Firstdraft depot. Its a cute little nook in a brick building on a corner near the domain in Woolloomooloo. In the corner is a cluster of large rolls of paper, their are drawings of all shapes and sizes. I always have a series of lamps for late night work, a pile of clay, a draftsman table and plenty of chairs and stools.
I have a habit of pinning up my drawings until there are no walls left, the result is a like a giant storyboard which is created in reverse. That said I usually leave a wall bare for animating against. My work gets pretty messy so there are scraps and scuffs of paint, clay and ink on most surfaces.
Do you have a favourite piece or favourite pieces? If so, which piece/s and why?
That’s like asking a mother to pick her favorite child!!!
I guess my favorite pieces are those that were unintended to be the way they turned out. The ones which didn’t quite go as planned – in a good way! The films, drawings and characters which somewhere throughout the creation process, took a turn away from what was planned. They offer a pleasant surprise in their resolution. When this happens I find the resulting artworks are far stronger.
Left: Todd Fuller, ‘A Soul On The Street (Tin Man)’ 2011, mixed media collage on paper, 56.6 x 75.5cm
Right: Todd Fuller, ‘Thrust II’ 2010, porcelain, steer, pigment and found object, 40 x 50 x 20cm
What has been, for you, a defining moment in your career as an artist?
When I was younger, I remember visiting Newcastle Regional Art Gallery (now the Newcastle Art Gallery), it was one of the first places I encountered cutting edge contemporary art. Recently Brenda called to inform me that NAG acquired one of my films. I am proud of my Hunter Heritage and to be considered worthy of being in one of the biggest collections in the Hunter Valley gave me a great deal of confidence in what I am doing and the path that I am on.
What did you eat for breakfast?
Each morning I assault a piece of toast with a thick smearing of peanut butter followed by a dollop of lemon spread. The lemon surprise keeps it interesting.