You are a wonderful creative being living in a universe of wealth and riches. Be clear in your mind and heart and what you desire, and it  will come to you. HAZEL HAWKE

Kim Goldsmith’s creative spirit has been drawn to rural Australia for as long as she can remember. She spent her childhood on a farm before forging a successful career in rural and regional media and communications. Kim is living and working on the land near Dubbo with husband Cameron and their daughter Georgia. Juggling farming, a marketing communications consultancy and a career as a successful mixed media artist is a constant challenge, but Kim has already held a solo exhibition and three years ago established a contemporary arts network which is providing opportunities for information exchange and peer mentoring among artists living in the west. Fresh Arts Inc., formally incorporated in 2004, has grown rapidly and is attracting anyone interested in being involved in or nurturing regional contemporary visual arts.

What gave you the motivation/inspiration to follow your dream?

I have always ‘made art’, and about three years ago I was painting with a group of friends on weekends but decided I needed more feedback and stimulation to explore new directions. With my journalism background, communicating is something I can do in my sleep so I began a monthly email newsletter to 10 like-minded artists I knew of. I was already working as an arts editor with a local weekly newspaper so I had easy access to useful information I could share. I called the newsletter Fresh Arts because I wanted to focus on contemporary artists who use traditional materials or subject matter but with new approaches. Fresh Arts had a different topic each month, and newsletter subscribers could respond with ideas and thoughts. However, we still wanted more interaction with each other and the public. So, with the support of the Dubbo Regional Gallery, we held our first Fresh Arts group show in 2004 and have not looked back since. We had an even bigger exhibition at Dubbo Regional Gallery in June–August 2005 and are now about to launch into our first independent exhibition program of about six exhibitions, over four venues, in three towns between April and November 2006.

At what point did you realise that your dream was actually possible and what was it that made you think you could really do it?

The pinnacle for me personally was having my first solo exhibition in September–October 2004, with a 75 per cent clearance. I covered all my expenses and made a very small profit. To have sold so much work made me realise that I could be a successful rural contemporary artist.

I knew Fresh Arts had a future even before we became incorporated, as I had over 80 names on my database only six months after sending out the first newsletter. Furthermore, incorporation has made others take us much more seriously. I became the first voluntary president/secretary/promotions officer and worked with a small executive team. I know the Fresh Arts dream is taking shape now that I have handed everything over to a fully functioning executive and our financial membership is growing, with half of it made up of art lover members, who strongly support our artists.

When you were a child, what did you want to ‘be’ when you grew up?

From the time I could talk and ride a horse, all I wanted to be was a vet. It wasn’t until I got to Year 11 that I realised I couldn’t do the subjects required. I was always very interested in literature and writing so journalism became the new passion. I was a rural journalist for nine years and kept dabbling in my art, but it was very much in the background.

How did your childhood influence you in later life?

Both my grandmothers were creative influences. One was an artist and very involved in the Dubbo Arts and Crafts Society, and the other was a great book-lover who gave me an appreciation for reading, writing and storytelling. Right through childhood I spent all my spare time drawing horses but I don’t think I ever considered art as a career. I also remember during primary school days having special lunchtime creative writing lessons with one of the nuns at the convent in Coonamble.

Who are your role models?

I am probably more influenced by authors than painters. Tim Winton’s descriptions of his Western Australian countryside made me look more acutely at my own landscape. My current work is totally focused on my immediate environment and what I feel, see or respond to emotionally. The works reveal complexities of how we work with or against nature. I sometimes even use actual elements of the earth by mixing sand or red dirt into various media that are rendered onto the canvas.

What does success mean to you?

I didn’t really focus on my art in a big way until 2003. I had my journalism career and a communications consultancy, and then there were other priorities such as buying the farm and starting a family, so my art was always sidelined.

I never actually considered selling work or even seriously exhibiting in competitions. Then I submitted four works to a gallery and sold one in the first two months. I also picked up a few small prizes and it snowballed from there. These little wins made me think I could do this on a professional level. Recognition by the arts community and selling work are both good success signals, but if I were to focus purely on selling work, I know I would lose the passion very quickly and this doesn’t appeal to me at all!

For Fresh Arts, one of our major successes in 2004 was recognition by a major national arts journal, which did a review of our first group show. We can only build on this and on our reputation as an exciting ‘centre’ of contemporary visual arts. Our growing membership and the 2006 exhibition program are also indicators that we have a successful concept, as it is completely reliant on the driving passion of our members.

What has been one of the biggest barriers you have had to face, what happened, and how did you overcome it?

Me. I am the biggest barrier. I am now mixing with some very well respected artists who have dedicated their entire lives to art. They have diplomas and degrees, have been widely exhibited and have works in major collections. In the early times with Fresh Arts I felt I was leading a bunch of people without having the qualifications myself. I even felt a bit of a ‘fraud’ having solo exhibitions so early in my arts career as there are so many other artists with more years experience than me. Never in my wildest dreams did I think I’d ever have a solo and here I am about to have another one in 2006. That self-doubt has definitely been one of my biggest barriers—it’s something I battle all the time.

Where do you see yourself in 10 years time? What is your vision for the future?

I have a dream that in 10 years I will be painting full-time. To make that happen, two years ago I started a eucalypt plantation for cut flowers and foliage that will hopefully give us some cash income to replace the work I currently do and allow me the freedom to paint. With recent drought this enterprise has taken some hard knocks, so the plan is currently being revised. There are so many variables to manage on the land, who knows what will happen—I just hope I’m happy and healthy doing whatever it is I’m doing. I do, however, have a great belief in my ability to make things happen and the potential of the region I live in.

What would you like to say to other women who may be just starting out on a ‘Daring to Dream’ journey?

Drought was raging the entire time I was an ABC rural reporter (1992–1996). When I left I was very depressed. I used to say that I would prefer to be on the back of a ute feeding sheep than report on another drought. Low and behold I got my wish! It has been tough and we have been struggling but my art has pulled me through, as I was able to switch off and forget about everything momentarily while I was painting or communicating with artists through Fresh Arts.

The biggest thing is to believe in yourself. There is no point in comparing yourself with other people. Do your research. If you have a dream you have to network because you can’t do it on your own. And, don’t make assumptions. When I talked about the potential of this region as a centre of excellence for contemporary art, I had people say there is no market for contemporary art outside Sydney and Melbourne. I hope I am proving them wrong!