Issue link: https://viewer.e-digitaleditions.com/i/131975
artspace Fire artist Annie Edney tells Kate Kunkel about her versatility as an artist, her passion for the community, and how she mastered the art of getting by. Art comes in thousands of forms. From the simplest painting to the most elaborate sculpture, artworks speak to their viewers, often evoking complex emotions. A primary goal of Annie Edney, Melbourne-based fire artist, sculptor, painter and puppet maker, is to use her artwork to unite communities in a literally moving way. In 1994, Annie began working on community cultural development (CCD) projects: large-scale community artistic projects and events. Some of her most prominent projects take the form of enormous burning sculptures known as 'fire art' – dramatic works that require great skill, patience and dedication to complete. Working with fire is "a beautiful experience", Annie says. Its transformative nature – its capacity to turn flame to ash and smoke – makes for a unique form of art that often has a profound impact on those taking part. For one exhibition, Enchanted River, Annie helped to raise a community's awareness of river health, using her fire art to send a powerful environmental message. Participating in the event and watching the burning display of river-themed sculptures, Murray River locals were powerfully reminded of the importance of safeguarding the natural world around them. Annie's fire-art structures can reach up to 20 metres in length and can stand six metres tall, each taking about four weeks to complete. Although making them requires her to spend long, uncomfortable hours on the ground, forming images from tie wire and jute webbing, Annie says the messages conveyed by her work make the labour worthwhile. "I love what I do because it gives me the opportunity to reflect and observe and interpret life going on around me," she says. "I think I've been successful in reflecting that in my work, and in helping other people find their stories." With an adventurous past that includes studying fashion, working in a rock 'n' roll recording studio and assisting in the production of operas, Annie was a late-blooming artist. Indeed, she didn't call herself an artist until she reached her mid-30s. Becoming a mother kindled her interest in community and the world her daughter would grow up in, so she began taking on CCD projects and threw herself into shadow plays, puppetry, sculpture work, fire art, painting and drawing. Of course, Annie faced obstacles along the way – such as "making money", she laughs, and "hanging in there" until the next project came along. Reminiscing about a time when she would eat beans that would have otherwise rotted in the neighbours' garden while they were away at their summer house, she notes that artists often have to adopt clever ways to get by; living frugally becomes second nature when you're not sure when you're going to receive your next pay cheque. Despite the unpredictability of a career in art, Annie is optimistic. Harnessing her drawing, painting and sculpting skills, she hopes to start exhibiting more fine-art pieces. But an ongoing love for community-based work will likely see her engaged in more CCD projects down the line. "Its capacity to turn flame to ash and smoke makes for a unique form of art that often has a profound impact on those taking part." XVIII