Gabby Malpas’s artistic journey spans New Zealand, the UK, and Sydney, evolving from a focus on still life to exploring ceramics. After struggling financially in the UK, she began work in project management, eventually finding stability in Sydney. Now in her 50s, she’s committed to growing her ceramics practice while continuing to expand her painting, with ambitious plans for the future.
Gabby, could you start by sharing a bit about your artistic journey and how your experiences in New Zealand, the UK, and now Sydney have shaped your work?
I began my journey in New Zealand in 1984 at art school and later moved to England with big dreams of becoming a famous artist. I had a successful graduate show, but life in the UK wasn’t easy. I ended up working odd jobs in pubs and schools while watching my friends thrive in well-paying corporate jobs. It was a reality check. Financial stability became crucial for me to continue pursuing art, so I returned to night school, worked my way up into project management, and eventually found a balance where I could make money and still create art. In 2003, after the dot com crash financial crisis, I moved to Sydney, and I've been here ever since. Sydney has provided me with a fresh perspective and a more stable environment to really focus on my work.
You've mentioned that you're inspired by still life and the natural world. Could you tell us how you first became interested in these subjects?
Still life works were really practical for me during my busy years in London. I was working long hours, sometimes 50-70 hours a week, and living in shared flats with limited space. Still life allowed me to work indoors, with easily portable subjects that I could set up and put away when needed. It also allowed me to focus on my technique, especially in watercolor. Over time, I refined my craft, tightening my technique. And when I lived in Europe, I found so much inspiration in the markets, old objects, and antiques. The grand houses of Europe and the historical interiors were also a huge influence on my work.
How has your practice evolved over time, especially with the shift toward ceramics in recent years?
In recent years, I’ve moved away from still life and focused more on gardens and other subjects. But a significant shift happened in 2020 when I returned to my roots in ceramics, my major from art school. I always wanted to return to it but couldn’t afford to join a studio before. Now, I’m dedicating time to ceramics, and I’m still in the early stages of building my skill. I’m excited to see how this will grow in the coming years. I’ve really only just started finding my groove, and I have big plans for the future. It’s physically demanding, but I’m making sure to take care of myself so I can keep going.
You’ve had some difficult experiences with racism in your life. How does this inform your work, and how do you navigate this in your artistic practice?
As a Chinese adoptee, I’ve had to navigate a lot of racism in my life, in all countries I have lived in.  I found it especially tough in the country of my birth – to be repeatedly told I do not belong, and it’s only now, in my 50s, that I feel confident enough to speak out about it. In Australia, I’ve faced racism again, and it’s been a challenge. However, I’ve learned to stand up for myself and call out racism when I see it. My work, though, is about beauty and joy first. I want people to see that before anything else. But behind that joy, there’s a deep personal history and a commitment to addressing racism and calling out harmful narratives.
You mentioned that you’ve been accused of cultural appropriation in your practice. Could you elaborate on that experience and how you deal with it?
Yes, I’ve been accused of cultural appropriation, especially as I incorporate elements of Asian culture into my work. It's frustrating because people don’t always take the time to understand my background and due to my English name. I’m an adoptee, and these elements are part of my heritage. There’s a lot of complexity to my work, but I want to emphasise the beauty first. For me, art is about joy, and I hope that viewers can connect with that before diving deeper into the cultural conversations. It’s not about perpetuating harmful stereotypes, it’s about celebrating beauty, and if my work can help spark those conversations, then that’s a good thing.
You’ve been very open about the challenges of being an artist, especially financially. What advice do you have for young artists trying to find their own voice?
I always tell emerging artists to focus on their finances. It’s hard, I know, but it’s so important. When I was younger, and before I had worked my way up to be a project manager, I worked at many jobs and didn’t get much back from my art. But I kept at it, and I didn’t let go of my dream because there is always that: ‘what if?’. There’s no shame in having a day job or finding a way to support yourself while pursuing your art. The most important thing for me was to lay down a solid financial foundation, so you’re not stressed about paying the rent. Don’t give up on your dream, though. It takes time to find your voice, and if you keep at it, you can get there.  But also: only you know what success feels like – because it’s your success and no one else's.  
You’ve had a long career in art, and you’ve recently found more balance in your work. What’s next for you?
I’m focusing on ceramics and expanding my practice. I’m still early in my ceramics journey, but I’m committed to it. I also want to keep growing my painting practice. I’m not planning on doing many shows right now, but I want to keep working and developing my skills. There’s a lot of potential in the years to come. I’m approaching my 60s with ambition, and I want to make the most of it. It’s about keeping that balance and continuing to grow, both creatively and physically, as I take care of myself.
Lastly, what’s your advice for artists in their 50s and beyond who are just starting to pursue their creative dreams?
My advice is to always think about the 'what if'. It’s never too late to start. You may face challenges along the way, but if you keep working and don’t let the setbacks stop you, you can make art on your own terms. Your experience gives you an edge, and your voice will be unique because of that. Don’t be afraid to take the leap, and don’t let age or other people’s expectations hold you back. Keep at it, and trust in your journey.

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Written by Priyanka Smithfied is a creative writer and former journalist. She lives in the inner west and enjoys the myriad of cuisines on offer as well as the vibrancy of her neighbourhood.