In My Studio: Sarah Jayne Kavali’s Arty, Party Penthouse

On a top floor in downtown Auckland, her home doubles as an art-filled eyrie meets installation space.

Multidisciplinary artist Sarah Jayne Kavali has spent the past decade developing her imprint as a super-creative.

The art school graduate makes a living from product design, fashion and art collaborations, immersive installations, commercial partnerships and sculptural works.

After studying visual arts at the University of Auckland from 2013, she launched her own business, working with multiple clients including Maggie Marilyn and Moët, on brand development, collaborations and illustrative work.

“Those early days were hard, but I was so determined to make it as a thriving artist. I had no idea how that would look. I’ve never had a fixed idea on how my career would be, or what exactly my creative hand would turn to.”

While living overseas from 2017, firstly in Sydney, then Dubai, she began creating spaces for events, which led her down a new path. “In Sydney I began to understand that I was meant to create spaces — in every sense of the word — for people. It’s what I was born to do.”

Returning to New Zealand, she experienced a reset and refresh as an artist. In 2022 Sarah Jayne created a studio on the top floor of a building in the heart of downtown Auckland, self-titled The Penthouse. In her creative journey, she continues to explore the theme of space as a transformative experience. This can involve anything from an energetic artwork to an installation that enlivens a space.

Describe your studio and how it inspires you.

Colour is not for the faint of heart, but its ability to singularly and definitively create an experience makes it one of the most important and valuable tools in design. To me, the idea of creating a cocoon of colour can elicit a multitude of emotions from relaxation to passion. Whether on a wall, furniture, part of a performance art piece, or splashed across a tablecloth for a dinner event — colour is integral to every facet of the transformation of a space. Purposefully provocative, the furniture and art are crafted consciously and specifically, blending into the interior architecture.

What is it about your work that gets you excited?

The process itself. It’s not just about the end result; it’s about the journey of making, creating and never staying safe. I’m constantly editing, revising and moving things around. Adding colour, subtracting. The result: a working masterpiece.

Describe your making process.

It’s two-fold, firstly in my head, visualising, pondering and (often) overthinking it. The second wave is doing it. That usually happens very quickly. It either works or doesn’t. And then, I rinse and repeat. I don’t get stuck on mistakes, or things that don’t work. I move on.

The Paper works were birthed from a mistake. Working with Japanese ink and brushes, penning large statements and thoughts down (during the Covid era) on paper. On one occasion, as I thrashed the brush on paper, I stood up, looked at the work in dramatic disgust, grabbed the pieces and screwed them up — and there, that moment of frustration created something magical. I looked at the form, the shadow and that was that. Pinned to the wall, the mistake was perfect.

Whether I’m physically painting, moving a room around or scrunching paper, the act is like theatre. It’s physical, dramatic and ultimately intuitive, like a magical sporadic burst of energy.

What was the biggest hurdle you overcame in the early years?

Name a setback that you learned from?

I have been told no so many times, each time used to feel like a setback. It’s only been recently that I have an understanding and acceptance that what is meant for me, will be.

Did you seriously consider giving up?

Interesting question, on the surface yes, many times. I wouldn’t be the first artist to suffer from a harsh internal critic. And the notion of giving up can frequent the conscious mind, more often than one would like to admit. On a serious note, from below the surface, at my core, there is an unwavering drive to create, where giving up isn’t an option.

Have you ever had a business mentor?

Throughout my career I’ve had many different mentors, all of whom have shared insights and immense value.

READ: Lloyd Brooke Anderson, Singer Turned Woodworker, Kindles His Passion

Any tips for other creatives wanting to launch their own business?

Don’t overthink it. (Do as I say, not as I do.) Just do it. Know you don’t need to do it alone, nor do you need to be good at everything. Ask for help and be open to receiving it.

Biggest life lesson?

For me, a 10-year chapter closed mid-2020 when my now ex-husband and I parted. Endings, in whatever form they come, are often hard. This was excruciating, yet freeing, it was a roller coaster where I gained a deep understanding of self-discovery and personal growth.

What self-care strategies do you have in your life?

I’ve finally learned to slow down to speed up. The full, dense days are balanced by slow ones. Slowing down takes practice, and I’m starting to understand the immense value.

What inspires you?

People living in their authentic power. There’s something truly captivating about witnessing individuals who embrace their true selves and fearlessly pursue their passions.

What’s on the horizon?

This year I’ve launched a new creative space, Brad’s, an evolution of The Penthouse. It’s a multi-use event venue. My team and I play host to people, their events and visions. The name references Brad Pitt. It’s another heritage building and I wanted to build a brand-new look, feel and vibrancy. It’s working — almost every meeting I have, people ask about the name!

Stepping into Brad’s feels like entering a place that’s both nostalgic and fresh. It exudes an inviting atmosphere, a space that effortlessly feels like home. It’s early days, but my God it is exciting. On top of this, I’m now actively making work, sculptures and furniture. It’s all go, go, go. And I really am just getting started.