She herself started out 22 years ago as a face painter doing children’s parties and the like and after repeated requests from adults, found herself with bigger ‘canvases’ and more requests for more elaborate artwork. There didn’t seem to be anybody else in Australia doing it at the time. Then she found out that body painting was a major thing in Europe and the States. “I had no idea how big it was overseas,” she says. “I went to Austria to the European Body Painting convention where there are thousands of people watching. I had the idea to put on a competition in Australia. I got to know all the artists in Australia.”
At the time Clauss was based on the Sunshine Coast and the body art festival she set up there is still going strong. “I moved to Melbourne,” she continues, “and started doing competitions here. For the first competition there were only ten artists involved.” Has Clauss noticed any particular trends in body art styles that are unique to Australia? “Our artists here are not as ‘over the top’ as they are in Europe. There are so many different countries and artists can make a living over there.” Clauss has supported herself through her work over the years. How does one make a living out of body art? “Birthday parties for young and old. Christmas parties. Corporate events. Promotional events, that sort of thing. Fancy dress parties. I’ve done CD covers, work for magazines, fashion editorials – the sky’s the limit. I’ve taught here and all over the world. Right now things have gotten quiet. Everyone’s been freaked out by the current government. We’re seen as entertainment and those budgets go first.”
Melbourne is about to enjoy the sixth Body Art Xpo What used to be a competition based at ‘The Spot’ in Brunswick became an Xpo once Clauss saw the need to expand the arena of body art events. “A lot of artists never get the chance to have their work seen. We wanted to showcase their work. We do it for them. We also wanted to have performers as well, so it’s an Xpo as well as a competition because it’s become so huge. We want people to be able to move around a bit, dance and socialise.” The event will be compered by ‘social lubricator’ Philmah Bocks and artists will be invited to indulge their creative visions on the theme of ‘Out of the Ashes’. Sometimes body painting can take up to six hours and the public will be able to watch artists at work. There are categories for artists who specialise in effects like sponging, airbrushing and use of fluorescent paints. There is a prize for best new artist and there’s even a prize for the best model performance, in case any extroverted wannabes are reading this. The Xpo will include a painted burlesque performer.
“We want to get people to come to see this and understand that it’s an art form,” says Clauss. “Melbourne likes to have something new.” The intrinsically temporary nature of body art makes it special, Clauss says. “You can just wash it off when you’re done with it.” Clauss herself has retired from the competition aspect of the Xpo and is now devoting herself to supporting and promoting new artists. “This year I have about six novices and we have a novice section in the competition. There are a lot of new artists out there, and thousands of body artists, so the Xpo is also about networking, about everyone getting to know each other.” Needless to say, body art enjoys popularity amongst artistes of all descriptions including drag queens and burlesque performers. You’d imagine body art would lend itself to the even more erotically adventurous amongst us. Does Clauss have a presence in the fetish scene? “It’s a very fine line,” she says. “I want to keep it as an art form. I don’t want it to be seen as something underground or purely sexual. We want to keep it legit. I want the public to know how hard body artists work.” Clauss is especially enthusiastic about work from overseas, Asia in particular. “When the Japanese artists come to the Xpo everyone is blown away. Our close Asian neighbours are incredible! We like to have them come over – they are just next door, after all.”
BY LIZA DEZFOULI
