Today we’d like to introduce you to Nadia Sirninger Rankin

Hi Nadia, so excited to have you on the platform. So before we get into questions about your work-life, maybe you can bring our readers up to speed on your story and how you got to where you are today?

I have always been immersed in the creative arts. My mum is a painter, and my dad is an illustrator. Growing up, I spent countless hours doodling in the margins of my school workbooks. My Grade 6 teacher, Mr. Hall, recognized my artistic inclinations early on. He often looked the other way when I was drawing during math lessons and he later initiated an after-school drama program, which sparked my love for theatre.
In Year 12, I was the only student in my cohort to undertake all creative folio subjects, and when graduating, I received the Diedre Cross Award for my dedication to the arts. It was during this time that I discovered oil paint portraiture—a medium that has since become central to my practice. Following high school, I pursued a Bachelor of Creative Arts, majoring in Drama, at Deakin University.
Today, I manage and curate the Melbourne Art Studio 369 Creative Arts and run an independent theatre company, Running With Scissors Theatre. My two great passions, painting and theatre, continually inspire and inform one another. I am particularly thrilled when these art forms come together.

Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?

I’ve faced many challenges in my artistic journey and continue to do so. One of the biggest is balancing my dual passions for visual arts and theatre. My time is constantly divided between projects, which can feel overwhelming. At times, I’ve envied those who dedicate themselves solely to one discipline, as it can feel like I’m being left behind in both. But for me, these two art forms are inseparable.

Financial challenges are another hurdle. The “starving artist” trope, while cliché, contains truths, especially in a struggling economy. The arts were hit hard during COVID-19, and it remains difficult for galleries and theatres to stay afloat. I’ve often been asked, “When will you get a real job?”—a question many artists hear. Like others, I’ve done my time in hospitality and sales. Pursuing a career in the arts demands persistence, risk-taking, and the courage to seize opportunities, even when they feel daunting. I tutor children at 369 Creative Arts and I’m passionate about empowering the next generation to follow their creative dreams, rather than feeling excluded from an industry they haven’t yet entered.

The greatest challenge I’ve faced, however, is the pushback against the truths I explore in my art. Every piece I create—whether a painting or theatre production—seeks to reveal the raw, unfiltered human experience. My portraits don’t hide scars, moles, and imperfect expressions, celebrating humanity’s beauty in its imperfections. I reject art that glosses over life’s rough edges; I believe people are most beautiful when they’re authentic, whether mid-laugh or caught in a moment of genuine personality.

As a feminist, my work often reflects my values and beliefs. In 2021, my solo exhibition ‘Don’t Call Me Brave’ showcased portraits of women who shared their personal challenges with me. This project deepened my understanding of women’s issues and profoundly influenced my art. In 2023, I wrote and directed ‘Cutting Onions’, a piece of visual theatre exploring gender expectations and the roles imposed upon everyone within traditional relationships. The work highlighted the unintended harm caused by patriarchy, not just to women but to everyone.

As a young woman, I’m no stranger to criticism. I’ve been called “too loud,” “too dominant,” and “too much,” and my work has been labeled “too confronting.” I believe these reactions stem from discomfort with women asserting themselves—a discomfort that underscores the importance of the stories I tell. Despite the challenges, I know my work resonates with people, moves them, and sparks meaningful conversations. That drives me to keep creating and pushing boundaries.

Can you tell our readers more about what you do and what you think sets you apart from others?

My key inspirations within all my work are people, expressions and the seeking of the true nature of someone. People are complicated and the more complexity I can capture in my work, the better. In a painting you can only capture one frame, so you have to do a lot with it and eyes are what it all boils down to. A face can tell us one thing but the eyes tell us something completely different. They show our true age, they tell us whether a smile is real.
I’m an observational painter, so a lot of the dimension in my work comes from studying the depth of shadows and sometimes exaggerating them to make the work more dynamic. I work really hard not to overdo any artwork, I utilize focus to draw in the viewer’s eye. I do this by adding detail and interest to one section and I often leave the hair, the shoulders or the clothes of my subject unrefined and unfinished.

All of this applies to my theatre work as well. I focus on the visuals a lot and I aim to create dynamic and unusual aesthetics. All theatre I make is based on the visual representation and I aim to show audiences something that feels real and unrefined. In the Melbourne theatre scene we seem to have gone through a trend in the last decade of minimalism and everything being over-refined. I don’t find that interesting, I don’t relate to it, life is messy and people are messy and theatre should be good at showing us that.

Risk taking is a topic that people have widely differing views on – we’d love to hear your thoughts.

Risk-taking is an integral part of who I am, and I firmly believe in the importance of occasionally diving into the deep end. At the start of 2023, after three years in hospitality, I began feeling the mental toll of neglecting my creative passions. I was renting during the growing cost-of-living crisis when I applied for a position at 369 Creative Arts. I wasn’t entirely sure what to expect, but from the moment I started, I fell in love with the studio and the work.

For about a month, I juggled shifts at a café with my new role at the studio, which initially guaranteed only six hours a week. Eventually, I took the financial risk of resigning from hospitality, fully prepared for the possibility of having to find alternative work. Those early months were tough financially, but as business picked up, so did my hours. Now, two years later, I manage the studio, curate exhibitions, and help create opportunities for emerging artists—a role I wouldn’t have if I hadn’t taken that leap.

This experience has brought incredible opportunities and taught me so much about running a creative arts business, thanks to the guidance of 369 Creative Arts’ director, Jessie Zhao. It has also sparked a passion for curating and supporting other artists.
Taking risks is undeniably scary, and feelings of impostor syndrome often make it seem impossible to take the next step. But with every risk I’ve taken, I’ve gained confidence, and each subsequent leap has felt a little easier.

Contact Info:

• Website: https://inyourfaceart.com
• Instagram: @in.your.face.art (Visual Arts Instagram @runningwithscissorstheatre (Theatre Instagram)
• Facebook: https://www.facebook.com/Nadia.Sirninger.Rankin.In.Your.Face.Art
• Other: https://369creativearts.com.au

Image Credits

Cutting Onions Theatrical Production Photography – Rohan Dimsey
Andrew Raszevski (Featured Photo)