HOTA CEO Criena Gehrke shares her story on ‘demons’, budget blow-outs
From launching our city’s $60 million state-of-the-art gallery to defending her turf in a spiritual battle, perhaps it’s no wonder Criena Gehrke decided to run away to the circus. See what she told our columnist Ann Wason Moore
Gold Coast
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Being the boss of a so-called ‘demonic stronghold’ is no easy job.
But that’s not why Home of the Arts CEO Criena Gehrke has resigned.
After working her final day this week, and eight months after the sensational story of our arts precinct being labelled as possessed went worldwide, Criena cannot disguise the damage sustained.
While she has no comment on the comments of Mayor Tom Tate’s spiritual Adviser Pastor Sue Baynes and her decree of a spiritual battle staged on the Bundall grounds of HOTA, Criena says her own staff were left casualties of the fracas.
Leaving her flock of 300 employees is perhaps the hardest part of saying goodbye to this job that, over 10 years, has seen her guide the artistic and cultural growth of the Gold Coast.
But make no mistake, the exit is her choice.
And, in the great tradition of the arts, it has been the best of times … and the worst of times.
Which brings us back to the proclamation of HOTA as a ‘demonic stronghold’.
“One hundred per cent, hand on heart, HOTA is not a demonic gateway in any way shape or form. In fact, I would argue that our values are deeply Christian; we are a place that embraces everyone,” says Criena, enjoying the view from the Gallery’s Exhibitionist rooftop restaurant.
“Further, we have a consecrated chapel on-site at HOTA, with religious services every Sunday.
“But that was a difficult time for our team. We had visitors coming in who were concerned by those comments, but also many of our own employees have deep Christian beliefs and that affected them.
“It was a time when I did have to practice my own pastoral care skills, ironically enough, to ensure our workforce was okay.
“Beyond that, the story went national and international, and it did have a flow-on effect to our reputation and ability to be taken seriously as an arts precinct. We do not want to be a laughing stock.”
Fortunately, any damage to HOTA’s image has since been repaired, especially with the imminent opening of the Pop Masters exhibition, featuring works from Andy Warhol, Keith Waring and Jean-Michel Basquiat.
While it’s bittersweet to leave before that launch, Criena believes a sign of a strong leader is knowing when to go.
“Ten years is a long time, especially when I just dropped by the city for 12 months to write a culture strategy. But I fell in love and couldn’t leave,” says Criena, who is leaving her position at HOTA but not her home in Florida Gardens.
“You have to know when to hold ’em, know when to fold ’em.
“We have achieved so much and we’re in a great position for the next stage city of the masterplan, including the new performing arts centre.
“I am emotional to leave, working with this team and the board has been a joy, but I’m ready for the next adventure … it’s healthy for me and for HOTA.”
While she might be literally running away to the circus, taking on the position of group executive for strategy and impact at Circa Contemporary Circus, there are a few things Criena wants to clear up before she goes.
She readily acknowledges that there has been a cost blowout to the upcoming Pop Masters exhibition, but says that is nothing to do with mismanagement or contract terms, but rather the same old factors that have contributed to our current cost-of-living crises.
She says while there have been a number of reviews conducted at HOTA in collaboration with the City of Gold Coast, these have been misinterpreted as something sinister rather than stock standard.
“It is a fact that there was a cost blow out for Pop Masters but that was a global phenomenon,” she says.
“The war in Ukraine, supply chain issues … all the reasons we hear for the cost-of-living crisis have affected us too. We’ve seen a $1 million increase in airfreight alone, plus the construction costs of staging an exhibition. Nobody’s budget has been left untouched.
“Meanwhile, there is this constant reporting that we’re under review. Yes, there have been a series of collaborative reviews undertaken by council with HOTA – and that is something we would anticipate and expect at this stage of the precinct’s evolution.
“There’s been a $130m-plus invested in infrastructure here and, it is on the public record, a significant amount of operational funding that comes to HOTA which is appropriate for the level of activity and level of assets that we have to program. It’s not inflated, it’s the appropriate level and the reviews show that.
“Any investment at that level, you expect to be looking for efficiencies. I wouldn’t say it’s all a storm in the teacup, but it has been in the reporting.
“We have been faultless in our transparency. You know, I’m a ratepayer and I want to hold myself accountable, it’s a deep responsibility to provide a return on investment here.”
In fact, when it comes to budgeting, Criena can be thanked as the person responsible for winning an extraordinary million-dollar donation from Bensons Property Group chairman Elias Jreissati AM and wife Colleen.
And that is the sentiment of the donors themselves, who are in town to view the level four gallery that now carries their name – and which currently is exhibiting 31 works from their private collection, open to the public to view until February 5.
“We have so enjoyed working with you,” says Mr Jreissati. “And, just for the record, I have made a point of reminding everyone in every discussion we have had that it was our meeting with you that lead us here and to make our donation.
“Losing you is a loss for HOTA, but not for us as we will stay in touch.”
While working in tandem with City Hall is not always easy, Criena has words of praise for the Mayor, as well as advice for the future running of the arts precinct.
As for the appointment of former deputy premier Jackie Trad to the position of chair of the HOTA board, the fourth chair in five years, Criena says she is an astute political player.
“There are always politics in play when you’re dealing with public funding, but I do think it’s important that we separate the image of HOTA from the City itself, for the sake of both. Business and art certainly have to mix, but you also don’t want them too closely intertwined.
“When it comes to the mayor himself, I think everyone can agree that what you see is what you get. And that’s a good thing.
“There is no doubt he had an incredible vision for arts in this city, nowhere else has it happened where you have this level of investment fully funded by a local government.
“Its also to his credit that Tom Tate has gone through two elections – and possibly a third – and has brought every councillor along with his vision of the arts as well as including the people in this story.”
As she prepares to take on her next big role with Circa Contemporary Circus, the country’s largest exporter of cultural products, she says she is both looking forward … and looking back.
She says her new role will see her getting back to her artistic roots, something she was feeling somewhat estranged from as she climbed ever higher in her business role at HOTA.
But she also swells with pride as she reflects on those best and worst times during which both she and HOTA not only survived but thrived.
“We have succeeded in so many ways. We have a 97 per cent positive community sentiment, which is incredible,” she says.
“We have succeeded in capturing the imagination of Gold Coasters and visitors alike.
“We have succeeded for every child who has performed on the main stage at the eisteddfod, and who will remember that for life.
“We have succeeded for every person who has enjoyed a sundowner at the Exhibitionist.
“We have succeeded in embracing HOTA as a place that belongs to the people of the Gold Coast, and which reflects not just who we are but who we want to be.”
But when asked to choose a single moment that will stay with her as she leaves the Bundall arts precinct behind, it’s not the official launch of the gallery last year, nor even the more recent high-profile concerts from the likes of Jack Johnson or 5 Seconds of Summer.
Instead, it’s a tiny performance held in the darkest depths of the pandemic that holds huge significance.
“In 2020, we reopened momentarily and could hold 100 people, sitting at cabaret tables in their own little Covid-safe bubbles, in the Lakeside Room.
“Tex Perkins was performing, and he played The Rainbow Connection on his ukulele, and he said, “I am the only gig in Australia tonight”.
“To me, that represents everything I believe this place is. It’s those quiet moments when you are fearless and resilient and you bring art to your city … that stays with you.”
Spiritual battles aside, for Criena, art is always on the side of angels.
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