Collector Focus | Joshua Reilly
Onespace gallery had the delight of talking to the creative and bubbly Joshua Reilly about his purchase of PUSH by James Hornsby. Read on to learn about Reilly’s unique experience of working closely with art as an installer as well as his vibrant and diverse approach toward collecting…
Tell us a little about yourself!
I completed my Fine Arts Degree at the University of Tasmania, majoring in painting and sculpture. After that I worked for a range of Tasmanian galleries curating, hanging exhibitions, and organising public and private collections. Living six years in Tasmania froze me to the bones so my partner and I moved up to beautiful warm QLD. I currently live in Brisbane City with my fiancé Grant and my lil Japanese Spitz named Roundabout. I now work in disability as an interior designer for specialist disability accomodation as well as teaching young people with intellectual disabilities woodwork and art. I also work as an art installer and hang shows for the wonderful Onespace Gallery!
What things are important to you when buying a work of art for your collection?
As I am a part of the LGBTIQA+ community, diversity is as important to me as it is to my collection. I always strive to collect a diverse and inclusive range of artworks from all communities and genders. Colour is also a very important element when I buy art— I am obsessed with colour! When I was at university, I studied colour theory and learnt about the science and power colour has, I have been obsessed ever since! This obsession has inevitably seeped into my collection so all the works I own are extremely colourful.
I loved the colour and playful nature of the work. The way that the work appeared to be attempting to slide further off the painting and onto the walls made me appreciate the beauty and joy of the work even more.
What drew you to purchasing PUSH by James Hornsby?
The beauty of hanging an exhibition is that you get to spend an intimate amount of time with the art. The unveiling of each work from its bubble wrap ‘skin’ is an exciting build up. Prior to this point you can only see a small amount of the work through the semi-transparent bubble wrap which teases the eye. When the ‘skin’ is released and falls to the ground there is the excitement of seeing the work in full. From there the work sits against the wall showing it in another space, and finally the piece goes on the wall, and you can see the full extent of the work.
With PUSH I loved it in each of these stages. I loved the colour and playful nature of the work. The way that the work appeared to be attempting to slide further off the painting and onto the walls made me appreciate the beauty and joy of the work even more. After listening to Hornsby give an explanation about the work my love for the piece was confirmed!
I knew the work was fun, however I didn’t realise how fun it was! Every time I look at it I give it a smile or even a chuckle. It truly is a joyful work that compliments my hectic collection!
Now that the work is in your space, what is an element you like about it that didn’t originally anticipate?
What I didn’t anticipate when buying Hornsby’s work is that due to its fluorescent qualities, bold colourations, and distorted composition it demands space. The work desires its own wall and craves its own ‘breathing room’ to be considered in full. I knew the work was fun, however I didn’t realise how fun it was! Every time I look at it I give it a smile or even a chuckle. It truly is a joyful work that compliments my hectic collection!