In a world where interactions are ever present, Jim Pavlidis has tapped into these moments, reflecting on them as he created the artwork for the Churchill Fellows Convention. His depiction of ripples captures the essence of these interactions, symbolising the quiet yet profound transformations that occur when people, ideas, and colours meet at the edges, blending and shifting as they touch. Much like the personal encounters Jim has experienced along his journey, the artwork embodies how small moments can evolve into something greater through connection and exchange.
Jim says his ripple image for the Fellows Convention serves as a metaphor for his Churchill journey, which began at the end of his career, working with traditional media.
“Digital tools were stock and trade at the Age,” Jim says, “but I found it hard to see how they could be combined with the tactile nature of traditional processes like lithography.” While digital methods have transformed art creation, lithography—an old-world technique—felt like it belonged to a different universe, one that didn’t rely on technology but on skill and the tangible act of carving images onto stone.
Looking ahead, Jim likened his act of entering the Churchill pool to casting a pebble, not knowing what ripples it would create but confident that the act would initiate a new chapter.
Jim notes that the application process was lengthy and demanding, far from a simple online submission. It wasn’t just filling out forms; it involved deep self-reflection and confronting the idea that his small, specialised project might not fit the broader narrative of the trust.
“It was a long process,” Jim recalls. During the interview for the Fellowship, surrounded by applicants with larger-scale, more significant projects, he couldn’t help but feel his work seemed almost insignificant in comparison. “It just felt like they were all doing something bigger, tackling more important causes,” he says, still reflecting on the modest scale of his project.
At that moment, Jim wondered, ‘What am I doing here?’ He felt almost embarrassed by the size and scope of his project amidst a sea of remarkable applicants.
He felt that his artistic journey, focused on exploring an ancient art technique, might not resonate as strongly with others. “I think everybody feels it,” he says, acknowledging the sense of inadequacy. “Even though my project seemed more obscure than others, I hoped it would connect in some way, that others would see the value in what I was doing.
But that self-doubt was a pivotal moment in Jim’s journey. “I tend to overthink things, and maybe I’m a bit harder on myself,” Jim admits. “But the truth is, every project, no matter how specialised, has value. It took the Churchill Fellowship to help me realise that my project was worthy of exploration, and that my work mattered within the broader context of change.”
Yet, Jim’s contributions to Australian culture and the art world are far from insignificant. He has held 21 solo exhibitions, taken part in over 60 group exhibitions, and received numerous accolades, including the Rick Amor Print Prize. His work has been featured in national collections, including the National Gallery of Australia, the National Library of Australia, and the Albert Museum in London.
In Paris, working with Christian Bramsem, a printer whose approach to printmaking deeply resonated with Jim, he experienced the subtle yet powerful exchange of ideas. “We always take a little bit away,” Jim says, reflecting on the process of learning from others.
“It’s because I’m genuinely interested in what he’s doing… I’m there. I’m emotionally involved, so the antennas are up, the radar’s on,” Jim continues. “You want to listen, you want to try it and be part of it.” Each interaction, each new technique learned, added depth to his work. And just as colours in his artwork blend and shift when they collide, Jim’s creative process evolves, with every new experience contributing to his artistic transformation.
The impact of the Churchill Fellowship extended beyond technique and practice; it was about the people Jim met along the way. “We always take a little bit away,” Jim reflects, “that’s part of it, isn’t it? That’s just part of being human. I guess maybe that’s what the word ‘experience’ means.” These interactions, whether through shared techniques or just conversations, helped inform Jim’s work and added depth to his practice.
Jim’s piece for the Fellows Convention is a representation of these very connections. The subtle merging of colours at the edges of his artwork reflects how one small action—whether an interaction, an idea, or a shared moment—can create something greater, a ripple effect that touches others in ways both visible and invisible.
“I hope people might stop and find it appealing enough to pause and look at it, and then figure out what it’s about,” Jim says of the piece. “It’s not just about the first impression, but what you discover when you take the time to engage with it.”
The image reflects the influence of the Churchill Fellowship, where even the smallest contributions by one individual, no matter how modest, can have a lasting, interconnected effect on the broader community. They ripple outwards, changing their surroundings in ways both visible and invisible.
