An Artist for Large Projects in Australia

What actually makes a project "large"

A large art project is not always about the size of an individual artwork. More often it is about scope: multiple pieces across multiple rooms or buildings, a fixed handover date tied to a broader construction or fit-out program, several stakeholders who all need to sign off, and sometimes delivery to more than one site across the country. An artist who is excellent at a single statement piece has not necessarily solved any of that.

What a large project actually requires from an artist

A process, not just a portfolio

Every large project I take on runs through the same process: a brief covering dimensions, palette references, mood and deadline for every space involved; a palette and style proposal developed and approved before production starts; sample works approved before full production on any multi-piece collection; then production, framing and delivery, staged to the project's actual schedule.

Capacity that has actually been tested

In acrylics, I can produce up to 30 original large-scale framed works in eight weeks without compromising quality. That capacity comes from 26 years of professional practice, not a one-off effort for a single client. Oil commissions take longer due to drying time and suit projects with a longer runway.

Coordination with the rest of the build

Large projects rarely run on the artist's timeline alone. Art needs to arrive in step with joinery, lighting and furniture, sometimes labelled by room or floor for an installation team that is not me. I plan production against your actual handover date, not an assumed one.

Delivery anywhere in Australia

I work with clients across every state and territory. A national project does not need a different artist for each city -- it needs one artist working to one consistent brief, with delivery staged to each site as required.

When to bring an artist onto a large project

At the brief or interior concept stage -- the same point at which lighting and furniture are being specified -- not at the styling stage once everything else is finished. Every other trade on a large project has a lead time built into the schedule. Art should have one too. Engaging early removes almost all of the pressure that otherwise causes rushed sourcing decisions right before handover.

About Leah Justyce

I am a degree-qualified Australian fine artist with 26 years of professional practice, exhibited at Art Basel and The Other Fair, and featured in British Vogue, The World of Interiors and House and Garden UK. I work directly with developers, hotel groups, corporate clients and interior designers on large projects across Australia -- no gallery, transparent pricing, one point of contact from brief to installation. For projects that need more than one artist or a wider range of styles, I also founded Solene Haus, a platform with a dedicated trade brief desk.

Frequently asked questions

What makes an art project "large" beyond the artwork itself?

Multiple works across multiple rooms or buildings, a fixed handover date tied to a larger build schedule, several stakeholders, and often delivery to more than one location. The individual pieces do not need to be unusually large for the project to be large.

What should I look for in an artist for a large project?

Demonstrated capacity at volume, a sample-approval step before full production, the ability to stage delivery against your schedule, and real experience delivering across multiple Australian locations.

Can one artist manage a project across multiple cities?

Yes. I work with clients across every Australian state and territory, producing to one consistent brief and staging delivery to each site as needed.

When should the artist be brought on?

At the brief or interior concept stage, not the styling stage. Large projects need art scheduled with the same lead time as every other trade.