For artists, especially visual artists, residencies offer time and space to concentrate on their work plus the stimulation of new and dramatic landscapes.

The BAER Art Centre is located on a seaside horse breeding farm in Northwestern Iceland, approximately 400km (or a four hour drive) from the capital, Reykjavik. Conceived and built by architect Steinunn Jónsdóttir , the centre is designed to facilitate discussion between artists and architects.  It includes purpose built studios, workshops and living space which provide an ideal working environment whilst maximising a breathtaking landscape. 

It was this landscape, in particular the importance of the horse in the Icelandic culture, which drew Harrie towards the residency. The horse is a common theme and influence in Harrie’s work.

“The art I make is figurative with a strong narrative thread.  Within my work the horse represents the human figure,” she explains.

“It is a symbol that is loaded with references both historically and on a personal level.  Horses are present throughout the world; their relationship to people and different cultures is intriguing. 

“Horses have also played a dominant role in my personal history, from childhood fantasy and days thundering around on ponies, to the triumphs and traumas of seriously competing three-day eventers.”

An emerging artist, Harrie Fasher graduated with Honours from the National Art School, Sydney in 2010. During her studies she was awarded the Julian Beaument Sculpture Prize (2009) and the Bird Holcomb Foundation Scholarship (2010). Subsequently, her dynamic practice has been recognised with major awards, prizes and grants such as the Jindabyne Lake Light Sculpture Prize (2011), the Sculpture in the Vineyards People’s Choice Award (2012) and an Australia Council for the Arts, Art Start Grant (2011).

Largely a sculptor, Harrie builds artworks out of steel, ceramics and found objects with drawing, painting and collage forming the foundations of what she creates.

“The steel works are essentially three-dimensional line drawings and contain a distinct energy and animation, whilst the ceramic constructions play with tensions between weight, balance and narrative,” she explains.

The fjords of Iceland provided Harrie with a whole new set of influences for her artwork.

“The similarity between Iceland and our local landscape is the presence of sheep, and the beauty in old abandoned sheds.  But unlike the limited palette of our corrugated iron, the sheds and houses of Iceland are often painted vibrant hues.  I presumed this was to keep the presence of life and colour throughout the long months of winter. The Australian landscape has a sense of infinite distance, parched earth and red colour that is in distinct contrast to the black earth, volcanic forms and crystal waters of Iceland,” she said. 

“Their mountainous forms have no trees to soften the sharp basalt ridgelines, in fact there is hardly any trees at all, ten trees constitutes as a forest!  I believe it is the absence of this life that gives the Icelandic landscape its desolate reputation.”

During the residency, Harrie focussed mostly on drawing. She said the time gave her confidence in determining what stimulates her, how to further develop these ideas, and helped her identify the strengths in her current drawing practice. 

“I utilised the residency to re-invigorate my drawing practice, investigating both the landscape and the characters of my imagination.  Having a block of time, devoid of life’s daily distractions, devoted to your creative allowed for the development and realisation of ideas.  

“The residency also enabled me to establish a number of relationships with international artists.  This daily exchange with artists of varied backgrounds and practices creates a broader context from which I was able to view my own practice,” she said.

For other artists considering a residency program, either overseas or here in Australia, Harrie Fasher says “Do it!  Unexpected locations produce very interesting experiences!”

She notes, though, that applications require time and artists need to carefully read the requirements to make sure they address them directly. 

“Lastly, don’t be discouraged if you receive a knock back, be sure to get feedback on your application and have another go.”

Whilst Iceland had its charms, back home in the central west there’s still plenty to inspire the artist.

“I love being surrounded by the physical space of the central west, and the down to earth, inclusive nature of the people who live here.  The Oberon landscape is inspirational. Rolling hills, quiet star studded evenings and the intense colour palettes of sunsets and heavy frosts, invigorate both body and mind,” she said.

“I would like to use my position as an artist to explore Australia, and what it means to be Australian, as well as investigate international landscapes and the cultures inhabiting them.”

View some of Harrie Fasher’s work here.

Find details of more international artist residencies here.