Ditty Wheeler from Ditty Wheels
Ditty Wheeler is an artist, creative and framer. Her gallery, Ditty Wheels, in Sydney’s northern suburbs celebrates and nurtures local emerging artists, valuing connection and community.
Photography: Hande Renshaw
Ditty Wheeler from Ditty Wheels gallery in her space in Willoughby in Sydney.
Artwork by Tim Owers at Ditty Wheels.
Artwork by Lexie Worboys at Ditty Wheels.
‘Art that is inclusive revives a community and community engagement is a big part of Ditty Wheels.’
Hello Ditty – can you introduce yourself?
Ditty: I’m Ditty of Ditty Wheels gallery, in Willoughby. Many ask why ‘Ditty’—my birth name is Melissa Wheeler, I decided when I was 2 years old to name myself Ditty and it has stuck my whole life. I was born in Maffra, and grew up in Seville regional Victoria until I was twelve. Number 5 of 6 siblings to an Italian mum from Carlton, and an Aussie dad from Fitzroy. I studied year nine in Tasmania, where my dad was transferred for work—we moved from there to the Mornington Peninsula. When I was nineteen, I left the Peninsula to try Sydney out for a bit, and I’m still here… thirty years later.
Take us back to the beginning, what were doing before you opened your gallery?
The gallery I’ve been running is in its fourth year, but I’ve been exhibiting artists a lot longer. For almost thirty years I’ve been in picture framing, firstly working for the owner of Metropolitan Gallery & Framing at 88 Penshurst Street in Willoughby for 10 years, where I was offered to take over the business in 2006. It was then I re-named the business to Frame 88, and I still trade under this sentimental name. That big old building on Penshurst street was my home for 23 years. It was a historic building built in the 1880s, and was a produce and fuel store for the farmland that was around the Willoughby and Chatswood area all those years ago. It was here that I transitioned from artist to business owner, and learnt most of it by trial and error.
The last thirty years I’ve met many artists, observed masses of all types of artwork every day, and during this time established my fixation of art and artists. The place was full of life and energy—a cavern of treasures, antiques, sculptures, big ornate mirrors, hanging chandeliers and artwork.
A large gallery space was at the front where we held exhibitions. We had a big outdoor space at the back, or concrete slab more-so, and in 2014 Mike Cass asked if he could take over and create something… he created an oasis of trees and plants, and a coffee cart made from a disused horse trailer. It was a beautiful place and a great success—people still talk about it to this day!
We had to leave the building after a development proposal was stapled to the front of the building, but it did mean I was able to focus more avidly on having the gallery I always wanted.
When did art first have an impact on you?
I can’t remember a time that I wasn’t obsessed. When I was little I would take my mum’s collected 1960s paintings off the walls and repaint over them. I thought, I would make them brighter and nicer, then I would pop them back on the wall in the same position. She never seemed to mind, as they ended up staying on the wall, after an initial gasp and an ‘oh well’. Mum put me in every creative class we had on offer where I grew up; ballet, jazz ballet, saxophone, clarinet, violin, piano, to mention a few. It was evident to her I would end up in some kind of creative field. She’d take me to the theatre and the big art galleries where my eyes would pop. My dad was the creative one, he was a carpenter and worked in the timber industry his whole life. I’d love watching him work and he would teach me how to use all the tools. That smell of fresh cut timber was definitely a draw card to the picture framing.
For as long as I can remember I’ve just loved painting, and chose this as my creative outlet. Higher education wasn’t an option so I would take classes and soak in everything I saw, and read and read about art and artists of all ages and stages.
You support emerging artists at Ditty Wheels—why is this so important to you?
I was once an exhibiting artist, more seriously when I started working at the framing shop and the owner was so very encouraging of me exhibiting my own work. He made me feel like I was seen, and my work was important to be on the walls. This feeling was exhilarating—to have a space to show, to have people comment and compliment, to be made to feel like the work I did was good and worthwhile. It gave me the confidence to go on to have 7 solo exhibitions, in Sydney and one in Hong Kong, and also sold my work in London and New York to people I met on my travels. Every artist deserves to feel like that. Every artist needs a platform, especially if they are hell bent on making art their livelihood, and can’t think of anything else they’d rather be doing.
What are you initially most drawn to when taking on a new artist?
Firstly the artwork—if I instantly love it, see the talent, see the passion….. it’s in a feeling and I get it with some more than others.
‘Supporting emerging artists and giving them a platform can provide a real pivotal point in their careers as artists. I have given many artists their first exhibition, and they’ve gone on to do great things, or simply built the confidence to go forward.’
Divided and Below the Surface by Tim Owers.
“Every artist needs a platform, especially if they are hell bent on making art their livelihood, and can’t think of anything else they’d rather be doing.”
Artwork by Oliver Ackland and Lexie Worboys at Ditty Wheels.
‘The Painting Game talks of the game all artists play—the game of the palette, the composition, the material, the mind, the game of the art world itself.’
Tell us about your latest exhibition, The Painting Game…
I have 3 brand new artists and two previously exhibited artists for our show, The Painting Game. I discovered Lexie Worboys when I went to Newcastle to visit the Curator Incubator, I was insanely drawn to her studio, which was filled with colour—the floor she painted on was hot pink and her clothes set to match. Her artwork slapped me in the face with fun, happy sentimental images of childhood memories, with bold faces in blue, pink and yellow. Instant love.
Gemma Williams graduated National Art School last year. Wandering through the corridors of the show, I came across Gemmas work and loved the bold shapes and colours.
Oliver Ackland is making his mark as an actor on screen and his artwork is an extension of his full creative soul, he’s a widely talented man.
Nicholas Osmond is a true character that paints characters. He paints with veracity and has a funny story for all his work. A client and friend, interior designer, Lisa Burdus, introduced me to Nicholas’ work, and he was one of the first artists to exhibit with Ditty Wheels.
Tim Owers, who had his first solo exhibition in Sydney last month with us, as a first time entrant, is currently hanging in this year’s Archibald Prize. His painting of Cortnee Vine was widely popular and can be seen on bus stops and banners through the city.
The Painting Game talks of the game all artists play. The game of the palette, the composition, the material, the mind, the game of the art world itself. All artists, or players, if you will, in this exhibition are at various stages in their creative career and are navigating their space and life as an artist.
What does it mean to be a gallery owner in the current Australian art landscape?
We’re still a young country and though it might be insular, the art world is still pretty small here. There’s a load of space in Australia for growth, I want to be involved and possibly assist in my small way to contribute to that. When traveling, it’s easy to notice the disparity in support for fine arts. I notice and find countries that embrace and encourage all forms of creativity and admire and acknowledge talent, it’s considered a skill that you can’t learn. It’s not the same here—I don’t believe as a country we give enough support to the arts.
There’s a generation of people who have been swamped with decorative art. I think we’re still in a society who is a little afraid of buying original artwork and feel excluded from the art shopping/gallery scene. For me it’s important I play a part in breaking this down—to make a dent in this current way of thinking and interact with art. Art that is inclusive, revives a community, and has community engagement is a big part of Ditty Wheels.
The most valuable piece of advice you would give to emerging artists looking to break into the industry is…
Don’t be afraid of being a tall poppy. Always make connections with collectors and galleries. It’s so very important for artists to keep a mailing list, every person they meet and talk to about their art, ask them for their email address to invite them to openings or view new pieces, I promise no one will say no! You’re the next generation of artists—keep painting, keep promoting.
What have been your dream collaborations or projects so far?
A recent project I curated was for Christopher Ireland, a professional photographer who has spent the last thirteen years going into a social housing precinct called Greenway, in Kirribilli. Chris was privileged to be invited by the tenants to have their portraits taken and their life stories shared. We managed to get a show at the historic neighbourhood centre, and since this show there is interest from Parliament House and State Library of New South Wales in collecting the work as an important document of local history.
I’ve also been donating my space for at least the last eight years to Bambini Daycare, 3-5 year olds who are taught under the Reggio Amelia school of teaching, which is creativity based. At the end of their school term the children have a show in a professional gallery, coming in to see the art they created displayed professionally. This is one of my favourite weeks of the year, the pride these kids get from this experience is outstanding and sets them up to have confidence in their work from a very early age.
Moving forward, I’d love to use the Ditty Wheels name to exhibit artists in other spaces and not just my own—parks, empty buildings, on the streets, call it a ‘take over’, because I don’t like the word ‘pop-up’.) I’m also hatching plans to use my space for so much more: workshops, nerdy art nights, TED talks…
What’s coming up for you this year?
Our next show up is the fabulous, Libby Moore, who paints the most exquisite quirky still life paintings of glass vases and vessels she calls companions and friends. Libby has been painting for many years, but her practice has exploded while studying her BFA second year at National Art School, she’s been winning awards and incredibly busy, but I had to steal her back for another show.