Introduction: A career built on moving art, not just goods
Laurie Burgess isn’t your typical courier. About two decades ago he made a bold choice: transport only art across Australia. His van isn’t loaded with packages or ordinary freight, but with paintings, drawings, sculptures, and ceramics destined for galleries, buyers, and art competitions up and down the vast Australian landscape. This is a story about dedication, movement, and a life lived in service of the arts.
Each year, Burgess clocks up around 1 million kilometres every four years, a pace that would exhaust most travelers but has become second nature to him. He’s on the road for long stretches, often starting before dawn and ending long after dusk, driving between Perth and Hobart and up the east coast to Noosa and back again. His workdays routinely stretch to 16 hours, with rare days off in January and during Easter. It’s a rhythm that suits a man who treats every painting or sculpture as a conversation with a new audience.
Why someone would choose art as a full-time vocation
To Burgess, art is more than objects to be moved. There’s emotion in every piece, and artists can be anxious about the journey from studio to storefront. “There’s a lot of emotion in art. A lot of artists can be rather anxious at times and so you’ve got to sort of help them to keep their spirits up,” he says. His role extends beyond logistics; he becomes a trusted intermediary and confidant, helping artists and gallery owners alike navigate an often unpredictable market.
The pandemic underscored the importance of cross-border art movement. As small galleries faced closed borders and scattered exhibitions, Burgess’s ability to ferry work across the country kept competitions and prizes accessible. Allanah Dopson, owner of Handmark Gallery in Hobart, notes that interstate exposure is crucial for artists seeking recognition. “It’s really good for artists to enter interstate prizes and to get recognition and get their art out there. So, Laurie fills that void really well,” she says. Burgess’s journeys became a lifeline for creators who depend on a reliable channel to the broader art ecosystem.
Life on the road: a van transformed for rest and reliability
When he isn’t moving art, Burgess is finding ways to maximize time and minimize wasted stops. He has designed a sleeping section in the back of his van, a space outfitted with a comfortable mattress, doonas, and electric blankets. In a life on the road, rest is essential, and Burgess’s setup allows him to pull over, crawl into that compact retreat, and be ready to roll again at a moment’s notice. “Pull over, crawl into it, no time lost, no time wasted,” he explains. This pragmatic approach makes long-haul art delivery feasible and safer than many would expect.
From beginner to connoisseur: Burgess’s evolving taste in art
Despite arriving at the trade without formal training in art history, Burgess has developed a discerning eye for what resonates. He describes his current preferences in bright, primary colors and dynamic movement, embracing medium variety—from glass and ceramics to paintings, pastels, and even pencil and colored-pen drawings by emerging artists. His evolving collection reflects a pragmatic and exploratory taste. He mentions pieces from Robe, South Australia, which he treasures for their straightforward, kitchen-table charm—a reminder that art can be intimate and unpretending while still captivating.
Balancing dreams with daily demands
Despite a career that seems almost portable by design, Burgess’s long-term dream is rooted in homeownership. He’s saving toward a house, a goal complicated by rising property prices and a growing art collection that continues to expand as he travels. He notes that his lifestyle isn’t for everyone, but for him, the romance of the road—paired with a steady, organized rhythm—is worth the sacrifice. The collection’s growth has even affected his timelines, as storage becomes necessary when he cannot pause to enjoy or curate the pieces on the road. For now, his art remains in storage, awaiting a time when he can settle somewhere long enough to breathe, reflect, and perhaps finally rest in a space that is truly his own.
Conclusion: The art world keeps turning, and Burgess is its steady hand
Laurie Burgess’s story is a reminder that the art world is sustained by people who move ideas as surely as they move objects. He’s not just transporting canvases; he’s carrying opportunities—interstate prizes, emerging artists, and the ongoing conversation between studios and galleries across Australia. In a time when the logistics of art can seem fragile, Burgess’s itinerary stands as evidence that passion, practicality, and persistence can keep culture circulating—one mile, one gallery, and one conversation at a time.
