Old Girl Profile: Meet artist Jane Garrett (Maynard, 1983)
Jane is a versatile Artist and Graphic Designer who works across a multitude of media and is probably most well known in the community for her stunning designs of the Abbotsleigh Chapel stained glass windows. Jane has been working as a designer and artist for most of her career and her creations can be seen on wall murals, logos and printed materials, and she also enjoys incorporating her works into interior design solutions. Jane and her husband Peter are based in Sydney, with their children Phoebe (27) and Gil (24).
Tell us a little about your life and career since your school days?
I have been working in the Art Industry for nearly 40 years. Upon leaving Abbotsleigh in 1983 I started Architectural Drafting then moved over to Graphic Design. I worked as a freelance Animation Artist for Disney, Hanna Barbera and a few other studios. I then worked in graphic design for Reader’s Digest and eventually landed a role at a production company, Film Graphics where I stayed for 14 years working in advertising, TV commercials, set design and visual development for film. I went back to freelancing upon having my two children, which led to painting commissions for private collections and mural design for various companies and industries such as Kindifarm, Early Learning Centres, cafes, private homes and boatsheds.
When did you first want to become an artist? Who were your early inspirations? And what factors do you credit for helping you achieve your goal?
I was a very creative and crafty child with a big imagination. I always thought I would be a jewellery designer, but life pulls you in different directions. My Grandmother and my Great Aunt were both very creative and artistic. I was always interested in interior design too and still to this day can be found choosing “colours” for friends, family and clients.
Where do your imagination and creative ideas come from? Do you have any hints for people facing creative blocks?
My ideas come from travel, dreams. We share the earth and space that surrounds us, with all of nature every day. It’s important to stop, stand still, observe and admire its colours, shapes, light, I think this is where design begins. It’s all around us and the possibilities are endless. I worry that in today’s world, young people forget to “look up and around”. If anyone is facing a creative block, it’s important to not force anything but to believe in yourself when taking a path (or job) not yet travelled before then trust the journey.
Do you find you have themes which continue to emerge through your works? Where did this focus come from and how is it important to you?
I find the main themes that reoccur in my work is nature. I love gardening, walking and always observing my surrounds, shapes of architecture, interiors, reading books, imagining. These things are very important to me, if you’re not open and “looking” you miss out.
Can you describe your approach and process to creating works? Does this change for commissioned pieces?
The main approach for creating new works is often an idea will just come. Colour can be a big influence, and subject of course. When designing for a commission it is usually a totally different process. It is a partnership, and you must learn to listen to what your client is envisioning. It can be a collaboration where the colours, subject everything is out of my control to a degree then there are clients who give me the full reigns and trust the process and result. There are also customers who just buy what’s on my walls in my home, this is constantly changing. It is not uncommon for people to come to my house and say, “can we look around”? I used to exhibit with other artists and have had my work in a few galleries, but I prefer the word of mouth, social media approach now, which keeps me as busy as I like to be.
Your incredible stained glass window panels in the Abbotsleigh Chapel are a major achievement. Can you tell us how these came about and what were some of the biggest challenges in their development? What are your favourite aspects of this project?
The Abbotsleigh stained glass windows came about because there were two banners hanging at the front of the Chapel. The school were looking to redesign something fresh for the space. Louise Patrick (Piper, 1983), an old girl and friend of mine suggested I take a look. On inspecting the banners in the Chapel I think I commented “gee it would be nice to have stained glass windows in here”. These were the famous last words, and the journey began from there.
Judith Poole was keen to use Philippians 4:4-9 as the key inspiration. The team consisted of the Headmistress Mrs Poole, Deputy Head Rosemary Abrahams, Publications Manager and AOGU Committee member Alex Norton (Deane, 1983), Old Girl Relations’ Manager Sarah Gregory, and me. We chose ten words from the passage, one to represent each window on the east and west side of the Chapel. They were tied together with the black and gold thread at the base of each window, which also symbolised the “Weavers’ shuttle”, which was another nice nod to the school motto.
The greatest challenges were looking at the “light” aspects for the job. Because the east side of the Chapel is warmer light and the west side is cooler light, needing to get the glass and designs on the east side (Rejoice to Peace) was essential. Have you seen how the rainbow from the Peace window radiates in dappled light onto the floor at certain times of the day? Fabulous. This is where Rick Allen, the glazier was a great help, his expertise was invaluable.
Another challenge was what to do with “the black and gold thread” on windows 4 and 6 (Thanksgiving and Truth). They have doors under them and we were unsure what to do with the thread, as it would be on a different level to the others. Sometimes it’s the smallest things that will make a difference to the way people perceive the overall design.
There was also a challenge many parents face – time – juggling a young family, working every day, balancing school things and then designing the Chapel work most nights. The designs took about 5-6 months for the first 10 windows. In between I was also studying the theology myself with many trips to the library to borrow books and educate myself. The research was very time consuming. Making sure I got the symbols and historical references “correct” for the job was essential. I learnt a lot, which was great.
The best part of the job was seeing the Abbotsleigh Old Girls rally together to get the windows funded, which was a significant investment from individual donations and fundraising activities. The first two went in at the end of 2009, with another two going in early 2010 for the school’s 125th birthday anniversary.
The two altar windows were designed and put in a few years later. They were easier to design as I thought the birth and death of Christ were obvious contenders for the subject matter, being the altar and a key focus for the building.
I could never choose a favourite window, I feel like I know each one like an individual child, they each have their own special meaning to the school, the boarding community, to the verse, the biblical message, history. Some designs came about much more easily; some were more challenging. Gracious and Pure took a while… Rejoice design came easily.
What’s the best aspect of your job? And what advice would you give someone wanting to step into the world of art and graphic design? What have you learnt along the way of your career?
The best aspect of my job now is being able to be creative every day and working for myself in my studio at home. I do many “visits” to a space, but it is mostly solitary work, which I love. If I am not feeling particularly inspired on a day I can work on another project.
Starting out now in Graphic Design, there is such a difference to when I started down that road. Most “design” is now done on a computer with many special effects and features for various art packages. We were taught to draw, draw and draw. I remember many happy lessons at college spent in various Sydney graveyards to sketch and paint. A great exercise in learning about perspective drawing
Can you share a memory of your time at Abbotsleigh? How do you think the school has changed since you were a student?
My greatest memories from my ten years at Abbotsleigh would be sitting with my friends against the wall of the Senior School Assembly Hall sunning ourselves and chatting, also making “cubbies” down in the bush surrounds of the Junior School back in the 1970’s. I also have lovely memories of Mrs Edwards, the head of the Junior School.
How did the education you received and your time at Abbotsleigh help you through your life so far?
My education at Abbotsleigh has taught me to be confident and “have a go” in whatever you decide to do with your life. To challenge yourself and even if something new makes you feel uncomfortable or doubtful, just put yourself out there and give it your best shot. I think Abbotsleigh encouraged me to see the inner strength in myself.
Thanks so much, Jane, for sharing your time and some of your story with us today, and for all you have contributed to making life at Abbotsleigh more beautiful!
Jane was interviewed by Kim Boniface (Anderson, 1985) in June 2025 as part of the Abbotsleigh Chapel 60th anniversary and Abbotsleigh 140 Year Birthday celebrations.
