Home' Scoop Homes and Art : Scoop Homes and Art 37 Contents 104 HOMES & ART WINTER 2013
Marco is a member of The Art Gallery
of Western Australia Foundation Council,
and The Syndicate, a group of donors that
sponsors artists to create bodies of work.
He is passionate about supporting the arts.
What are some of your favourite
pieces and why?
Simon Gilby was the first artist
we supported through The Syndicate,
and I have one of his sculptures called
Corpus. It’s a seven-foot male body in
filigree metalwork. Each section is
a cage, like the chest and pelvis, with
the related skeleton pieces inside them.
I don’t have enough space, so I have
it suspended from the ceiling.
I also have a piece by Guan Wei,
a Chinese artist who lives in Sydney
and Beijing. It really deals with the
colonialisation of Australia, and the
arrival of migrants – that whole issue
of coming to a foreign land.
Another of my favourites is a lovely
painting by Russell Sheridan about the
Western Australian bushranger Moondyne
Joe. It’s of Joe and his girlfriend escaping
on a sailing boat; it has a historical feel.
How important is the concept behind
a piece to you?
I do like to explore a work. I think if you
can look at a piece and see that story, then
that’s wonderf ul. The beautiful thing about
having art as part of your environment is
that you can sit down and really discover
a piece. I am finding that I’m moving away
from figurative works and towards more
conceptual, abstract art.
Why do you collect art?
I just look for pieces that hit a chord with
me. I love to explore artistic expression,
I get a real joy out of that. I really want
to support artists, I believe what they
do is wonderful. It’s not so much of an
investment for me, as I’m not a trader in
art. I tend to become very attached to my
artwork, so I would find it difficult to let
them go! Hopefully one day I’ll bequeath my
collection to one of the arts organisations.
How do you feel about the art scene in WA?
We have a very strong creative spirit here,
and I think WA artists are as good as
artists anywhere else in the world, perhaps
because Perth is smaller and more isolated.
Sometimes, in bigger cities, you can’t
see the wood for the trees. But it is hard
for artists to be recognised here, so there
is that exodus. As Perth is growing it’s
becoming more culturally aware, however,
and over the last four years we’ve seen a lot
more interest. People are becoming more
aware of the significance of having
a cultural heritage.
Marcus sits in front of artworksby Guan
Wei (left) and Tony Windberg (right).
Corpus, by Simon Gilby, one of the
first artists supported by Marcus.
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