In 2018 I was introduced to Thea Elder's photographs by our mutual friend Sugu. I was swept away by Thea’s intimate portraits, featuring stylish humans blissed out with their bits out, completely at one with themselves and nature.

What has always drawn me back to Thea's work and got me curious to interview her is the energy she catches in every shot she takes. Her images posses a magnetic wild chemistry. If I was pressed to name the ingredients by taste and feel, I'd describe her work as having a raw, brazenly cool vibe that is topped off with curiosity, love, a fair amount of shit tinnies and sunshine. It's not scientific but once you see her work, I have a feeling you'll agree that it has the magic.

Thea is a natural story teller. She delivers a feeling of revelation while inviting you into a moment that has passed, yet feels very now. Her interviews are also vibrant with the same self-possessed story telling, brought to life by her flexible curiosity. I'd definitely suggest giving her write ups a read once you finish getting this interview in you.

I came away from interviewing Thea comforted and still as curious as ever. Her thoughts offered me a little thrill of recognition—the joy of learning more about another human who is dedicated to sharing stories and legends about our fellow creatives. Her honesty is warm and present, her humour sweet and open. So shimmy into it and enjoy the magic of our little yarn.

Amy: Hey mate, can you tell us a little about yourself and what you do?

Thea: Heyo! My name is Thea Elder and I am a freelance photographer and writer based in Sydney, Australia.

A: What did you think being an artist was when you were a little kid? What were the ways you were creative when you were a child?

T: I don’t think I thought much about artists when I was really little, other than watching my Mum paint beautiful oil and mixed media paintings and eventually hanging them around the house. She was THE artist to me, and I think that’s as much as I thought about it. I honestly can’t remember much about being a child, but my Mum tells me I was very quiet, very easy, and a bit more interested in books. I think my interest in art and artists blossomed in high school.

I remember romanticising being an artist, because it was so far from everything I knew.

All I pictured was a huge loft space with paint tins strewn around and a lot of alcohol. That was living to me.

A: What do you think being an artist means now?

T: Oh man, being an artist…I think everyone has the capacity to be an artist, because all humans create art with their words, their hearts, their histories, and eventually, their practice if they are so inclined.

But, being an artist for a living means you’re a good business person too, and that you allow the market to influence your creative practice.

A: You’ve been interviewing fascinating characters for online publications like Backyard Opera for a while. I love your interview style. I’m curious to know, what do you think the root of a great conversation is? Does it have the same ingredients as a good interview? How do you feel they differ?

T: Ah, the root of a good conversation is hard hey.

A good interview is a good conversation—they’re one and the same. I think if you do your research, and nurse the curiosities you have about whomever it is your interviewing, you’ll come out with something really great.

If you don’t have a sincere longing to get to know the person or people in front of you, and are constantly thinking of the next thing to ask or say, chances are it’ll show in your writing.

A: You recently interviewed Sleaford Mods for Issue #4 of Grassfires, a fresh art/culture/ music/ skate magazine coming out of Sydney. Tell us a little about that experience. Also what has it felt like seeing your name and work published in print for the first time?

T: That experience was sick, and incredibly nerve-wracking. I’d also like to be completely transparent; that opportunity came about because of nepotism and I am so grateful to my mate Nat Kassel for recommending me to Chris Bradley (Editor of Grass Fires Magazine).

It felt really surreal to get a phone call about interviewing Sleaford Mods because my old mate Imposter Syndrome tried to tell me that my portfolio wasn’t good enough.

But, once I was sat down the guys, it felt like any other interview, but I was definitely nervous—I think it lasted about 25 mins all up. I ended up transcribing and editing for fucking ages, trying to get my tone exactly right, and what I was left with was a pretty tight, pretty succinct interview with a band I froth. Seeing my name in print, alongside idols and friends of mine who are journos was really heartwarming. Definitely popped a couple bottles (laughs).

A: What’s an interview you’ve conducted that has stuck in your memory and why?

T: All of them hold a special lil place in my heart to be honest. I try not to interview people whose work I don’t genuinely take something from.

I’m surprised and over-joyed every time an artist I admire responds to an email I send them. I remember all of them so well! Interviewing Sam Brumby in his home was pretty dope, he has what I consider to be quite the dream-house with the sickest view.

A: I personally find having to define myself by one medium or one genre is very limiting. I know you have a very multifaceted creative practice. I wonder if you could tell me a little more about what else you do.

T: Over the past 6 months or so I have not only been focussing on my photography work, but also trying to utilise my marketing and design skills. Basically, as well as a BA, I also have a Diploma of Image, Media, and Styling which taught me a lot about how to be a versatile all-round boss bitch and start your own business, get familiar with adapting to rapidly changing creative & business environments, and basically how to use the Adobe Suite.

A: That’s so great. So, from one creative working in portraiture to another—I dig your work mate! It's etherial while also being visceral and pumped with character, both yours and your subjects. What keeps you coming back to portraiture and exploring our fellow human beings in your work?

T: I read a lot. And one of my favourite pieces of writing is by Martin Buber and it’s called “I and Thou”. I have a passed from this book that I wrote out a few years ago, pasted on my wall at home. It’s called “I Consider A Tree” and it’s about all the different ways you can categorise nature, but that at the end of it all, we should just consider our relation to everything as mutual and ever-expanding.

This piece of writing brings me back to photographing people again and again. Not to capture them, but just to mark a moment in my life, in their life, in the world.

Places are beautiful and humbling, but there’s just something about making someone else feel beautiful that really just…gets me off (artistically). (laughs)

A: Your photographic work was my first connection with your creative practice. One of my absolute favourite series of work you've done is Trash Wife, featuring the incandescent Kayla Sutton aka. K-SUT. Can you tell me a little about the more conceptual photographic series, like Trash Wife, that you’ve done and what the process for you behind making that work?

T: Thank you! That’s one of my favourites too. That was inspired by boredom and Harmony Korine. I also had a series called “Women as People (Not Objects)” a few years ago that I might use as an example of how I bring ideas into action. I am not formally trained in fine arts. I’m not sure of the processes you are “supposed” to go through that differentiate “good” art from “bad” art.

Basically, for that particular project I got sick and tired of women’s bodies being objectified, and I wanted to know more about how women actually feel about their naked (or semi-naked) bodies. So I wrote down all the questions I wanted to know, refined them, then posted a call out for people interested.

I created a document that included my vision and reasoning as well as the questions, and sent that out to anyone wishing to be involved. It was a lot of work, and I ended up with 10 amazing interviews and not much engagement at all. But it was 100% worth it.

A: While balancing these multifaceted creative practices, which part of your process is the most enjoyable and which is the most challenging?

T: Trying to make a living out of photography is hard. Made even harder, and more challenging, when people don’t want to pay you. They never even bring up the topic of money (even though they themselves are artists and understand the value of getting fucking paid for what you create), and CONTINUALLY don’t credit you.

The most enjoyable part is receiving my pictures back from development is getting excited because you know you’ve taken something really beautiful that’s going to make whoever is in the photo feel like a million bucks.

A: Can you tell us about a project that was a real game changer for you, in terms of process and career? It would be great to hear what you think are some of the most important lessons you got out of it.

T: Honestly, I think interviewing Sleaford Mods, although not a ‘project’ as such, will be a game-changer for me. It made really want to do more freelance writing work with publications in print at the moment, and interviewing more big names. It was the perfect cohesion of my love of writing, interviewing, and music.

A: Other than the one's we have been chatting about, can you tell us about a big life experience or event which really shifted your perspective and changed your life?

T: I had never experienced true grief from permanent loss in my adult life until last year. A friend from high school killed himself and I can’t quite put it into words how that event changed my perspective, but something in me shifted.

Carrying a new emotion around makes your world view a bit deeper and your motivations for creating and existing a lot more confusing. Things just got a bit heavier.

A: Who are the mentors who have offered—either directly or indirectly—the inspiration and guidance for where you're going creatively and professionally? What has been your approach to seeking out mentorship?

T: My housemates and close friends are 100% my mentors. They always have been.

I have learnt so much from these people who have filtered in and out of my life, most of which have been formally educated in fine arts—they’ve shown me the value in persistence and constantly trying new things with your creative practice. I have never been formally mentored.

A: Who are the creatives that are currently inspiring you and keeping you stoked to keep making and exploring creatively?

T: Gahhhh, there are SO many! But at the moment it’s the ladies behind Cream.Town, and literally all the photographers featured on Rewind Photo Lab’s ‘Unwound’ Instagram series.

Dream Lines #1 by Thea Elder (featuring Ash)

Dream Lines #2 by Thea Elder (featuring Oscar Henfrey)

A: What's next for you in 2020? Do you have any passion projects or upcoming work you'd like to share with us?

T: Other than my ‘Dream Lines’ photography project which aims to bring Sydney creatives together by showcasing their wardrobes online. All of my plans have gone out the window to be honest.

T: This fucking corona thing is the fuck that just keeps on coming hey.

My main concern is money right now hey, so, just tryna land a job that gives me some kind of stability.

Massive thank you to Thea for sharing her story and giving us some insights into her broad creative practice. You are undoubtedly curious to learn more about Thea. So don’t hesitate! Go explore her creative work on her website and follow her on Instagram.

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