Matthew Bax

Originally from: Adelaide
Profession: Bar owner
At: Melbourne

Matthew Bax is a renowned Australian artist who many years ago opened a bar to support his time in the studio. Since then, alongside his art, he’s opened several venues in Germany, Singapore and Australia and has led the charge in exploring locality, the classics and boundary-pushing creations. Currently, he’s shortlisted for Patrón Tequila's $25,000 grant called Patrón 60 Hands - Pay It Forward, which gives back to the community and grassroots craftspeople.

The last time Difford’s Guide interviewed you (back in 2014) it felt like your time was then currently skewed more to your bars than your art – has that changed?

Hmm, it probably depended on the day and maybe the audience. I probably assumed (perhaps incorrectly) that your readers didn’t want to hear about what was going on in my studio. I guess since I opened Grau Projekt (which entails working closely with many other artists) it could appear that I'm a little more art-focused. I think it's just a question of what demands the most attention on any given day as opposed to a general shift in focus.

What do you want to use the Patron craftsmanship grant for if you’re successful?

The funds would be invested to help realise all the exhibition opportunities for myself and the artists of the gallery that were cancelled and postponed this year. We had a full calendar of events and two satellite shows (LA & Brisbane) that have been put on ice until now.

You’ve come to a point in your career where many of your ex-staff are opening up their own venues, what has that been like to watch the likes of Luke Whearty and Hayden Lambert commence their own projects?

It’s my best contribution to the industry for sure. My alumni are immensely more talented. Luke & Hayden are doing exceptionally well but there are many more: Liana Oster did an amazing job at Dante (now she is heading to Nomad, London), Johannes Hartman is heading to Hong Kong to run the Lobster Bar after his stint at Chess Club & Annabel’s. Joel Fraser had also recently launched Seven Tails Brandy.

Can you tell us a bit about the Grau Projekt and what it aims to do?

In short, to bring more art into people’s lives by breaking through stuffy traditions and to push emerging artists to realise exhibitions on a scale that they have not previously attempted (The space is the largest commercial space in Australia). The artist-curated drinking concept we roll out for each show is a collaboration between the artist and our bar team to build a stronger connection between gastronomy and art and hopefully make visiting an exhibition more fun.

Do your two chosen careers still influence each other or does your art and cocktails feel like two different hats?

No there is a definite relationship but it’s probably a one-sided affair. My ideas about drinks are definitely shaped by art. Art encourages to take risks and I think over the years that has been for the most part a successful strategy.

We’re so sorry to hear that three of your art shows were cancelled due to Covid – what are the plans for 2021 and can those still go ahead?

Let’s see if I win this grant :) I have one solo show booked for March here in Melbourne. We will need to wait and see about LA, Mexico City, and the other shows here In Australia.

One of those shows was to be in LA for the first time for you – what does showing in a city like LA mean for your career?

Naturally, a huge thrill to be showing in the US and LA is arguably the hottest destination for contemporary art. A show in LA has been a long team dream. Australia’s isolation is a blessing right now but in better times it’s a challenge for artists here to make the leap and build an audience in the US.

What do you think it is about Bar Americano that has meant it’s the survivor of all your bar projects? How has it stayed relevant to Melbourne and to your life?

Bar Americano was born out of a desire to keep our classic skills alive. It was never a commercial idea. It’s so ridiculously tiny it really was a stupid idea really. I opened it when we dropped classic cocktails from Der Raum as that bar program was so different, we just weren’t set up to make classics on request. Bar Americano is a homage to all my favourite classic bars that never change, especially Harrys Bar in Venice (although I heard it may not reopen?). Of course, some things change at Bar Americano but it’s mostly refining ideas and improving drinks than a conceptual overhaul. I think our 10-year history is testament to fact that you can survive by just doing simple things well. You don’t need to follow fads and gimmicks.

How was the bottled cocktail business during Covid and is that something you see yourself continuing?

Yeah, it exploded. We have been selling our bottled cocktails I think for 6 years now but certainly not on the scale we experienced during the lockdown. The support was amazing. It kept the lights on for sure. The bottle sales continue to flow and I’m actually working on a new beverage project which I hope to someday launch intentionally. Let’s see if I can make something worth drinking.

Who is inspiring you right now in the world of food, drinks and/or art?

Too many. This week my best mate Jake Smyth stuck his neck out and was brave enough to talk about some real concerns he sees in the attitude of the new generation of hospitality workers. He copped a lot of heat over it and it demonstrated how risky it is today to start a genuine conversation about uncomfortable topics. He is my hero this week for actually trying to start a dialogue despite the repercussions.

The unwavering positivity of Anton & Stefan Forte (of the Swillhouse Empire) was something that kept me going during Covid as was the mad energy of Chef Ben Shewry. A monster of activity during the lockdown.

Restaurateurs Ronnie di Stasio, Maurice Terzini and Chris Lucas gave voice to us little guys who were completely disregarded during the awful mess the Victorian Government landed us in. We really owe them a great deal.

Art-wise, I’m about to open an amazing show of local artist Pimpisa Tinpalit. It’s the first exhibition since February so it’s such a joy to see her work and realise this incredible show.

Tell us, did you bake banana bread like the rest of Australia in lockdown or did you keep working?

No banana bread but that sounds good. With the studio, bottle sales and managing the gallery Covid was really busy. I also squeezed in a short popup of my tea concept SAMU so it's been a busy year.

In our last interview you said you were slowly slipping into obscurity in the bar world, but six years later that doesn’t really seem to have happened. Do you still feel like that’s the way it’s going though?

Ha, I’m still shocked anyone knows who I am. I think memories of Der Raum etc must be fading now surely? In all honesty, I don’t think too much about it which I think is probably a good sign. Maybe I’m finally growing up?

Desert Island Drink?

There is only one answer. A Pina Colada of course. But they always suck. It doesn’t stop me ordering them though.

It’s been a while (19 years?) since you first opened a bar in Melbourne – what’s the worst mistake you’ve made in hospitality and the best decision you’ve made in that time?

The worst, blindly trusting my bar to someone I thought was a good friend.

The best: choosing my mental health over my career when I closed Gamsei after just one year. I was absolutely heartbroken when a very long-term relationship ended and I chose to leave Munich. It was a devastatingly expensive decision and so frustrating after the start we had made with the bar. I still miss that bar and the fun I had working with Johannes Hartmann.