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Artist statement - examples


A good artist statement communicates ideas with clarity. You don’t have to follow a formal structure, and there is no right or wrong way to write your statement.

The examples from professional artists and designers in this section are all different in length, format, communication style, structure, and use of vocabulary.

The statements presented here were written as part of a creative or research project, or as part of a presentation, exhibition, assessment, or documentation of creative work.

View the videos, read these statements, analyse their content and structure, to improve your understanding of how to write an engaging and effective artist statement.


Video artist statements

Select the artist names to view each video artist statement. All videos have auto-generated closed captions and a transcript of the spoken statement.

Elizabeth Gower

he loves me, he loves me not, 2016, RMIT Gallery

‘he loves me he loves me not’ is written 21,319 times which represents the number of days I have lived and asked this question.

The number is calculated to symbolically represent a lifetime of re-evaluation and wavering, resilience and resolve. The phrase is written on behalf of women across cultures who are conditioned to seek approval, permission and sanction from the generic he.

‘he loves me he loves me not’ can also have more negative connotations that signify the trauma of domestic instability and violence. The monumental scale of the installation and the endurance of the task amplifies the futility of continually asking the question.

Parul Thaker

Unfolding: New Indian Textiles 2015, RMIT Gallery

Warning! Part of this video (at 0:34-0:47 seconds) has rapidly changing still images and may affect some people who are sensitive to light or motion.

This work came from me observing my grandmother for years, and one fine morning it was just an idea to photograph her hands because her hands were completely, kind of, they became one with the material and the material became one with her hands.

She had this continuous movement. It was it was like I was, I will see the in-between energies which were surrounding her hands.

Mohammed has been a very important influence; she's been everything to me in my life and I have grown up with her. It's been a journey with her, however where she's been working with textiles and with yarns and with threads all her life, for me it was like part of growing up in that environment.

I work with her fibers - textiles, which are back in my country, which the craftsmen and weavers have been working for years. The techniques I use kind of, they’re invented by us, so they don't exist in in like history.

And it's not about the textile, it's about the language. It's about an abstract language and trying to communicate through the works, of me wanting to search within the answers which I never could resolve in day-to-day living my life so it was more about me wanting to go within - wanting to ask questions about living, about life, feelings, the physicality, the tactility of the materials, which we are just not aware, which we've lost in our day-to-day livings.

So yes there is a so the process of me doing these works which made me search, you know, different ways which made me engage with textiles in a very different approach.


Ei Wada

Experimenta Recharge 2015, RMIT Gallery

This is an installation work that uses an old open reel recorder player. The recorder player is on top of a tall tower and the tape falls slowly down as it plays and creates a pattern, and at a certain point the tape rewinds back and play a certain melody.

When the tape is falling it creates a very low sound but by having it reel up quickly, the actual song is exposed, sort of like revealing a secret code.

It was inspired by when I saw the tape fall out from a broken tape player and I imagined a scenario in my head [?] the future. Finding these ancient arcade machines like this, being fascinated by them and making a monument out of them, something to signify the technology of the 21st century.


Khaled Sabsabi

Experimenta Recharge 2015, RMIT Gallery

The work ‘70,000 veils’ has taken seven years to make. Of course, initially I didn't have an idea what the work will look like or what will eventuate in that time. The work in terms of the process, consists of ten thousand still images taken from my travels of four or five years and then these images are taken and then deconstructed layer for layer to form ten thousand different layers, and then those layers are reconfigured and composited again to form 70,000 veils then they’re animated.

What inspires the work: Rūmī, Jalāl ad-Dīn Rūmī - known as a poet in the West but he was a mystic, a Sufi mystic said, “between the individual and the divine there are 70,000 layers and none between the divine and the individual’, and this inspired me and got me thinking about not just from a metaphysical view but also from physical life. I mean you walk into the work; you can choose not to put on the 3d glasses you can choose to put them on.

For me that that symbolizes life generally - you can walk through life and have a rewarding life and you would never have to think about if there is anything out there, or you can cross a threshold, a rite of passage and behind the work is all the wires and the sticky tape and the glue and the bolts and the nuts, and the wood frame and so on. Essentially, it's the workings behind the universe, held by nails and bolts.

Anasia Franco

Experimenta Recharge 2015, RMIT Gallery

Warning! Flashing light effects in part of this video (at 0:22-0:28 seconds) may affect some people who are sensitive to light.

I'm very inspired by psychology and cognitive science and it's a kind of analytic relationship, psychoanalysis relationship between you and the object. So, I'm showing wave of happiness, frustration and paranoia.

So, psychosomatic series it's something that you build in your mind and then you react in your body. The idea of the works is to create relationships with people and objects so the objects are in bed with emotions like the happiness or frustration or paranoia, and generally objects doesn't have emotions only us, and computers doesn't have emotions.

So the idea is to create emotions in the objects that are activated by humans so then you could be able to have a relationship with the object.




Artist statement examples (learning activities)

Select the artist names to open example statements and view the different structural parts of each example, or download a text transcript version.

Select the buttons below to open each example in a popup box.



Screen media & photography statements

These links to exernal resources contain several examples of artist statements for screen and media research, and photography.

Sightlines: Filmmaking in the Academy, Issue 3, 2021

Australian Screen Production Education and Research Association, ISSN: 2653-1801 (Online)

This third issue of Sightlines: Filmmaking in the Academy Journal follows the third Sightlines Conference held at the Royal Melbourne Institute of Technology (RMIT), 2019. The practitioners featured are mostly academic staff or PhD candidates based in screen production disciplines. Each submission contains an artist research statement, creative work, two peer reviews and a final response from contributors. In some cases, this final response includes a revised research statement that clarifies the aims, objectives, or methodologies of the screen work.

Sightlines Journal, Issue 3, 2021


Artist statements for photography

Art School Portal, 2017 (external link)

This web page contains a short overview of  writing an artist statement for photography, with examples of artist statements by well-known and significant photographers such as Cindy Sherman, Rineke Dijkstra and Fiona Hall.

Artist statements for photography