Spotlight On: Margo Hoekstra, TBSSS alumni
Archival image of Margo in the Studio at TBSSS.
Name: Margo Hoekstra
What years did you attend classes at TBSSS?
I attended both Broadway and Erskineville from 1983 to 2010.
What was unique about your TBSSS experience?
What was unique for me was entering a different world - having spent time only in academia or science related worlds this art world was totally new and I felt transported and shy and incredibly curious and intrigued. As I walked up the amazing old stairs into the extensive loft area of the Broadway studio I was overwhelmed by the light and the space. There were windows all around the studio. Benches and sculptures everywhere. I'd done many casual courses but nothing in an atmosphere like this. The place was magical.
What was your first impression walking in to TBSSS at Broadway?
Tom was ironing clothes on a blanket on a bench. He was friendly but also somewhat intimidating. He knew who he was and exuded confidence. In one part of the studio one of his students was modelling a life figure with the model there. It was normal but from my life experience most unusual. As I began to attend classes I was definitely intimidated by him.
What was your first impression of Tom?
He was tough and didn't suffer fools or people who were not open to his teaching - amazing - why else come to a school but there were people like that. What he taught and how he taught was inspiring and I was always curious to follow him around as he taught others.
What is your fondest memory of Tom and the Studio?
There was a communal atmosphere as we stopped for tea. Tom was sharing stories and interesting to listen to. He was helpful and people loved being in his company.
How have your studies at the TBSSS prepared you for your practice?
I never intended to become a sculptor and not sure what would have happened artistically if I had not hung around forever. But after many years I did learn a lot about how to make sculpture and even felt at times I had mastered it in my own way. But I also recognise it was part of my life with Tom and when he was no longer there gradually making more sculpture was no longer necessary.
What was your favourite medium to work in?
I loved modelling and casting into plaster of cement. Later I liked working in direct plaster. I only cast into bronze some times. I liked Tom's comments that, bronze being a forever medium, you don't want to litter the world with a lot of average sculpture.
What lessons / skills / concepts have stayed with you from your time at TBSSS?
It's ok to wipe it out and start again.
Make sure you spend time on the armature ; make it flexible so it doesn't dominate.
Always start with a maquette (or drawing then maquette) , and mostly stick to it when scaling it up.
Parallel lines are boring.
Rob Peter to pay Paul - when possible move the clay around - don't keep adding.
What inspires your practice today?
I don't make a lot of sculpture, but if I did I would start with (mind free) doodles and draw the sculptures out of them with wire and then plaster. Or I would start with a lump of plaster or soapstone and explore the spaces with files. I would still like working in clay and then casting But other things have taken over in my life. Sometimes I could make a commissioned sculpture with a particular purpose/ person in mind.
Tell us about the works you are exhibiting as part of the 50th exhibition:
Horse (pictured above left) I made a long time ago based on a friend's dream - It was at a time I was working in direct plaster; putting shapes together to make her horse.
The Couple (pictured above right) is part of a series of sculptures. It was a way of processing grief. They were modeled in clay and cast in plaster. Then, in a piece mould I cast them into cement.
Archival image of Margo (middle) and Tom Bass AM (right), with their son Peter (left).
Anything else you would like to share:
1983, meeting Tom, changed my life. I sometimes imagine other lives I could have lived but I didn't. The life I had with Tom, and still have, is wonderful.
Thank you Margo!
