Aesthetics Now Vol 2 - July 2010

July 2010

Vol.2

EXPERIENCE ORGANISED K-OS

DAVID JON

KASSAN A DEEPER REALITY

PLUS

AESTHETICSNOW.COM

ANIKIKO NANAMI COWDROY STANLEY STREET STATION MELBOURNE INTERNATIONAL FILM FESTIVAL

LETTERS TO THE EDITOR

L

et me first commend and congratulate you on the your very insightful and informative first issue! The content was truly aesthetically pleasing, and the work showcased was of the highest standard.

I must however single out the feature on the young Jamaican artist Taj Francis, which singlehandedly pointed out to the reader everything good, and bad, related to the arts and indeed our society. Francis' work is simply extraordinary, and demonstrates what can become of the talent hidden within the suppressed minds of Jamaica's youth, if only harnessed. His formal training at the Edna Manley School for the Visual and Performing Arts is undoubtedly instrumental in the actualization of his full potential, potential stifled in others with his abilities by socialization and the inculcation of academic excellence before all else.

It is quite counterintuitive to foster to such an extent the virtues of traditional education in a country rich with talent in the arts. World renown music, dance and contemporary art are apparently not enough to coerce a paradigm shift towards a greater emphasis on the arts, rather than the assembly line that is our primary and secondary education system. Matriculation into our universities is not the end-all to a life of schooling, wake up!

Ryan Smith

W

here do I begin? From the time I saw the cover I had hopes that this magazine would have the potential to really inspire me in a creative way... and it did! Each artist featured shows a really interesting style and it’s nice to see artists of different mediums put together in one magazine.

I really like the Film Festival feature and how it explains the progress of film over the years. I am so used to reading really short reviews on film or music festivals so to see an actual article which really delves into the details of the concept of the event is fantastic. Good work Dungog on the success of the festival and good work Aesthetics Now for making international artists like me aware of what is going on in different parts of the world. I really appreciate having the opportunity to be exposed to this and think it is definitely a very important aspect in assisting nations in developing creatively on a whole.

Lucia Gonzalez

VOLUME 1 IS A-MAZ-ING! I enjoyed reading this so much!

I took particular notice of Protoje and his fantastic feature. His music really manages to strike a chord in making me feel emotion Lucia Gonzalez for Jamaica and wanting to visit there to experience the way it’s described through his lyrics. He sounds like such an encouraging young artist who is dedicated to making a change within his society through encouraging the youth. It’s so nice to see that happening in today’s world where so many people are consumed by materialistic things, so witnessing the love that this young artist has for the place his roots are firmly embedded in is so amazing.

I wish you every success with the development of the magazine and will be eagerly waiting each month to see what new artistic talent is featured. Congratulations with such an achievement; I would definitely buy this magazine if I saw it on a newsstand!

Samantha Hatch Thankyou! I think that one word completely sums up the appreciation I have for a magazine of this calibre.

Good luck with every coming issue. I can’t wait!

Sarah Brown I read your mag and loved it. The visual art was awesome. Great job.

Caty Schildmeyer

ALL READERS ARE ENCOURAGED TO WRITE TO US. HAVE YOUR WORDS PUBLISHED BY SENDING YOUR EMAILS TO letters@aestheticsnow.com

THIS IS HOW I FEEL ABOUT AESTHETICS NOW...

Aesthetics Now is a magazine of the new era that explains culture in the upmost fashion. Aesthetics Now keeps you informed on today’s emerging artists in all genres, and to me this is so important simply because I truly believe the arts help shape our world, our society and our cultures. So basically Aesthetics Now is going to play a huge role in shaping culture ...bottom line....let alone help shape my culture.

STAY PROPER STAY FRESH Chor Boogie

FIRSTLY, A HUGE CONGRATULATIONS ON SUCH A SUCCESSFUL FIRST ISSUE! I really enjoyed reading the magazine and felt a sense of disappointment when I got to the last page because I wanted to see more!

I was particularly drawn to Che Kothari’s article and work. His photography is absolutely stunning and captures the depth in his message, not to mention an interview of words that left me feeling that I could sit in a room listening to him talk all day and leave knowing that a lot of what he has to say would leave a motivational impression on me.

Cannot wait to for each 1st of the month to roll around to read each new issue... I feel like I have huge expectations of this magazine and Aesthetics Now will pull through and even exceed them.

Raylene Thompson Aesthetics Now arts magazine... absolutely awesome! Browsing online at work has just become so much fun!

Don’t ever stop... change can definitely be made through the arts. Thankyou Kaiona Feni

CONTENTS

JULY 2010

VOL.2

A DEEPER REALITY Take a journey through the amazing work of David Kassan. Be sure to do more than just glance over his portraits, look in thier eyes and see their longtales

PHOTOGRAPHY TUTORIAL Ever wanted to capture water in one of it’s most amazing forms? Here’s our guide to creating beautiful photography through the help of some simple tricks.

SYSTEMIZED DISARRAY The work is busy, it’s messy, it’s smudgy, some might even findit confusing. Yet, when complete, the work of Nanami Cowdroy still shines in equisite detail

STANLEY STREET STATION Step off the platform and venture into an artistic playground where art meets knowledge, knowledge meets music and music meets delictable treats totantalise the tastebuds.

IF THEY COULD TWEET When in doubt, ask yourself... What would DaVinci Tweet ?

www.aestheticsnow.com

ANIKIKO

On her way to musical stardom, the strong yet seductive tones of singer/songwriter Anikiko will have your ears begging for her sounds to linger on through the air.

ORGANISED K-OS

Canadian hip-hop artiste K-os is no rookie to this industry. In this exclusive, we discuss his life, his inspirations, and what’sto come.

BOOKMAN REVIEW

Magic of Reason , a fantastic series of novels that will open your eyes to greater dimensions

POETRY IN MOTION Love, lust, passion. This is where poetry and the visual arts combine for their own interpretation of the others creations

TOP 5 CULT FILMS OF THE LAST 10 YEARS A toast to the ones that may not be number 1 at the Box Office, but resides at the top of out film loving hearts

MELBOURNE INTERNATIONAL FILM FESTIVAL

Insight into the event and films that will be showcased in the heart of Australia this July

VISIONARY SQUAD EDITORIAL DEPARTMENT Editor in Chief Neville Ewers

Managing Editor Simone Colosi

Copy Editor Ryan Smith

Art Director Neville Ewers

CONTRIBUTORS Andre Hall Dutty Bookman Allison Charmaine Tasha Williams Joao Encarnacao Deidrean Williams

Email info@aestheticsnow.com Website www.aestheticsnow.com

Copyright Š 2010.

All rights reserved.

Material in this publication may not be reproduced in any form without permission. Requests for permission should be made to info@aestheticsnow.com

SPECIAL

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Y IM E O N L T D E IT L IM

0414.870.232 876.423.6030 347.435.1568

“Pray that your loneliness may spur you into finding something to live for, great enough to die for.�

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Photo Credit: ScallopHolden.com http://www.flickr.com/photos/scallop_holden/

A DEEPER REALI TY

w o r d s b y S i m o n e Colosi

DAVID JON KASSAN

DAVID JON KASSAN

“Realism to me is capturing truth in what we see”.

He goes by the name of David Jon Kassan, and for those who aren’t familiar with his paintings, prepare yourselves to be inspired as you take a journey into a reality deeper than you could possibly imagine.

Having travelled throughout Europe as a child, David’s love for art was ignited through his parents exposing him to numerous museums, where he fumbled through pages of old reading material and stared at artistic masterpieces. A later trip in 2003 revealed a wider perspective encompassing the concepts he did not understand as a child, fuelling David’s creativity and providing encouragement through the many challenges he would face as a fine artist.

David’s work, while unique in its style, bears a close resemblance to the paintings of Dutch artist Rembrandt, who happens to be one of his greatest sources of inspiration. His technique acts as a vehicle to observe and then capture an emotion or feeling without being idealised in any shape or form. “I just want to capture that person the best I can”, and through the use of rich details and endless passion, viewing David’s portraits convey

the same intensity of looking into one’s soul. His paintings stir emotion and have the viewer wanting to get to know the person; touch them, talk to them, gaze into their eyes and understand their inner thoughts.

The concept behind his work is an evolution of “observing more and slowing down life”. Through taking time to understand the finest details of all that surrounds him, David allows people, the environment and street art to act as the source of what he creates.

By painting exactly what he sees, from a distance the untrained eye can be fooled into thinking David’s work is a mimic of photographic art. However, they couldn’t be more wrong. Take a look closer and view the tiniest of details that these paintings entail..

They are not photographic in any shape or form; they show no sign of flat surfaces or lack of texture.

In fact, his paintings are the complete opposite and if you still refer to them as replicas of photography then stare into his portraits eyes; you will become exposed to their feelings and will truly understand the overall essence of David’s unique style.

“I’m trying to create something that‘s real, something that is in your space”.

By creating life size portraits, David begins the long yet inspiring task of beginning to paint. His canvas is stocked with numerous colours as he combines them to perfect the shades of his model’s skin tones, aiming to convey the exact luminosity and texture that natural skin entails. “The paint is layered over, because a person’s life is layered over, and I want that to come through in my paintings”. Through merging layer upon layer of paint he works tirelessly until every detail is completely intact, enjoying the different interactions of colours that form to create that feeling of age and experience. “I am a huge fan of Rembrandt and how hard he worked to get it right”, and each time he puts his brush to canvas, David delicately works to form every imperfection and create every fold, adding to the many levels of paint as he mimics the exact patience of Rembrandt.

You only need to watch David working to know how intense the process is in creating such amazing results. David has just released a video of a live web stream recording where he finger painted from his trusty iPad. Conjuring the brilliant idea to paint a live model while in his studio, David worked for hours on end to perfect his technique outside of his usual paint medium, showing art lovers the process of how he works in his own space.

He does this all the time, observing people on the subway and quickly painting them in the short timeframe

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David has just released a video of a live web stream recording where he finger painted from his trusty iPad. of them being in his presence. His idea is to create a drawing within the iPad that replicates his style, enjoying the fact that he can record every stroke produced by the brushes, so that when replayed you can embrace a clip of an image being painted by an invisible source. Now for all of those who have not warmed to this savvy piece of technology (like Aesthetics Now’s Art Director who has since taken an incredible turn), you only need to view David’s video to have your negative notions removed. Since taking the time to interview David we have decided that if his love for art becomes solely a hobby, then his best (and most profitable) move would be to work for Steve (Jobs) himself, as we’re pretty sure he can do a better job at selling this product!

David never experiences “painter’s block”. On the contrary, he is often inundated with too many ideas, excited to paint more than one image simultaneously. He is inspired by the challenge of having to express so many ideas and attacks the issues of ensuring the accuracy of every detail of his technique. “These are my visions that I want to get out, and I want to make them as clear as possible and to do that I have to be as critical as possible”.

Having painted numerous portraits over his years as an artist, David holds two paintings particularly

DAVID JON KASSAN

close to him – those of his mother and aunt. “I think they’re some of my strongest work”, reason being that he knows them personally having grown up with them, and has thus seen them age as the years have gone by. This in turn enables greater focus on depicting those exact markings that have changed over time.

Along with these two paintings David feels that his “self portraits are getting there”.

His opinion on why is actually quite enlightening; “it’s the funniest thing, it’s like you live with yourself the most but you end up knowing yourself the least. I feel like the self portrait is always a search to find yourself, and it changes so much that you feel like you’re continually searching”.

“These are my visions that I want to get out, and I want to make them as clear as possible and to do that I have to be as critical as possible”.

DAVID JON KASSAN Aside from painting from his studio, David is also teaching others how to paint. With the idea that “we all gain knowledge from being in the class”, David enjoys the collaboration of a large number of people coming together in search of a common goal.

He has taught in Australia, Iceland, Spain, and Portugal (just to name a few) and is heading to Belgium for a month, inspiring individuals the world over with his painting style. “I feel like I’m not that far removed from learning myself so I find it crazy that people are inspired by me. I get lots of emails from people asking question, it’s bizarre. I definitely appreciate that, the people who compliment me like that”.

David is also working on a solo show in his gallery in New York next September that will see him grounded in the States as of next March, working on pieces that reflect his family, where he can express his strongest art yet.

In what was close to an inspiring interview with an amazing artist, we asked David to pass on some encouraging words to you, our readers; words that you can take along on your many journeys through art, and words that you can openly embrace, allowing you to develop your creative expressions with a building desire. “I guess be as true and honest with your work as possible.

This is a really hard gig; you are the only person you can lean on which is sad and depressing but also kind of enlightening at the same time. It’s a full contrast all the time. The idea is that everything relies on you so only you have yourself to answer for, if you don’t do it you don’t have anyone to blame except for yourself. But you can work whatever hours you want, you can work as hard as you want, you’ll never have a boss over your head. It’s the best job in the world.

However I work way harder than I will in any other job, I work way harder for myself.

“The idea is that everything relies on you so only you have yourself to answer for, if you don’t do it you don’t have anyone to blame except for yourself.”

DAVID JON KASSAN You are constantly refining yourself and that becomes a very worthwhile and very honourable thing to do, to learn about yourself. And my job, I monitor life, and understand things. I’m constantly learning about that as well. It’s a hugely inspiring gig, but it can be taken away at any minute and I know that, and so that keeps me working like a dog to get it right”. And that hard work has definitely paid off, personally embracing these words with open arms as encouragement to continue striving to develop on a daily basis.

A truly inspirational and talented artist, you can view more of David’s paintings at www.davidkassan.com

“And my job, I monitor life, and understand things. I’m constantly learning about that as well.”

DAVID JON KASSAN

DAVID JON KASSAN

DAVID JON KASSAN

DAVID JON KASSAN

TUTORIAL TRIBUTE TO JAMES CAMERON’S

by Joao Encarnacao

T

here are many ways of shooting water drops and this month Joao shows us how he sets up his working environment to perfect the art of photographing water.

The main object you require is patience. Outside of that it is beneficial to have access to an external flash, as you’ll be taking photos at 1/200 shutter speed and f/13 aperture. With this speed there generally aren’t many natural light sources to accommodate successfully in allowing you to control where the light hits as you take your photos.

Placing your Camera

Materials So here is what you need to successfully photograph water; a flash and remote trigger, as well as a wired/wireless remote for the camera. The remote is a must have when you are shooting water drops and can be purchased relatively cheaply at as little as $5

Setting Up Your Environment The final setup should look something like the photo above.

Please note: The best place to conduct this experiment is in your kitchen as the progress of this masterpiece can become slightly messy with the splash back of water.

When positioning the camera regarding the tray, you should try to get as low as possible without having the front or back of the tray appearing in the picture. Avoid the camera being too low as you should not be able to see the rim of the back of your tray, nor too high as you'll lose the depth of the drop of water within your bubble

First of all you will need to define a place on your tray where the bubble can be placed. Several techniques can be used and Joao found that a measuring tape was the best means to determine the arrangement.

Secure the tape from both ends so that it hovers right above the water.

Placing the bubble in the correct spot is an important factor, so you should put the tape measure one third of the distance from you to the end of the tray. This allows you to get more breathing space in the top of the bubble, where it really adds to the composition of the photo.

These markers will also be used for you to guide the bubble when taking the shot. Even your breathing causes the bubble to shift position ever so slightly, and you'll know that between the markers the area is in focus.

If reflections from the light start to become a problem because of the direct flash, try to tilt the bulb so that it’s positioned as low as possible; since your camera is on a higher plane, it should not be a concern. If flare occurs, use a lens hood.

The Editing

Joao used Photoshop CS4 to edit his photo, and by following the adjustment technique he has used, you should be guaranteed excellent results.

The Drop

With the existing water in the tray, fill the eye dropper in preparation for the water drops. Get the remote release in one hand and the eyedropper in the other, and get ready for some long shooting. The first time Joao tried this he took up to 400 photos but can now get the results he desires within 30-40.

Drop some water from about 7" high (or more, depending on your focal range and line of sight), and fire away.

Next, focus on the measuring tape.

If you have an option for live view, it helps to zoom in. If not, use the viewfinder in order to have all the measuring tape in focus. Manual focus has to be used.

Some shots you will miss, some shots will look ok, and every once in a while, one is excellent. If the bubble bursts very easily, add some more soap to the water to make the bubble thicker. However do not add too much soap as it will cause the bubble to become too thick and will not allow the water droplet to get in easily.

If the bubble moves across the water as your droplet falls, use the side of the eyedropper to gently shift it back to focus position.

For this photo shoot Joao used ISO 100, f/14 and 1/200. And a flash power of 1/16 or 1/8. This is what his original photo looked like before editing

Imported into ACR with roundabout these settings:

He then used the Topaz "Smooth Portrait" preset, lowered the saturation, increased adaptive exposure and regions, and added detail. After completing this he used “Smart Sharpen” to finish with, his final photography looking like this:

The Bubble

Pour some soapy water into the tray and use the straw to create a bubble by blowing into the water. Do some test shots of the bubble before continuing with the water droplets so that you can adjust the flash power and zoom. Also check for relative size of the bubble inside the frame.

View more of Joao’s work at www.encarnation.net

NANAMI COWDROY

SYSTEMIZED DISARRAY

NANAMI COWDROY

T

here is always one or more things in our lives that we cannot perfect not matter how hard we try. “Hi, my name is Simone and I am a qualified designer. It has been 6 years, 14 days and 22 hours since I first discovered my inability to loosely create. I have compulsive structured disorder (yes, it’s a new disease), and when I create pieces with messy elements the overall feel is exactly that... messy!”

Having just defaulted myself to the typical AA meeting environment, the fact is that my appreciation for art that has been created freely is no secret.

Flowing lines coupled with paint splatters and messy marks, spread between the folds and textures of the canvas really hit the spot if pulled off effectively. So it was no surprise that I was stopped in my tracks when I one day stumbled across Nanami Cowdroy and her chaotic imagery that comes together to form visual bliss.

With a vast imagination and an ability to create intricately detailed illustrations through pen and ink, Nanami (whose name means “Seven Seas” in Japanese) has set herself

apart as a familiar face in the successful artist world.

As you glance through her pieces you have no choice but to be fascinated by the many elements that make up her art.

Before you open another browser to look her up yourself, travel through our pages as we disclose the creative talent this artist presents. This month the Aesthetics Now team had the opportunity to get to know Nanami on a more personal level and are pleased to be able to share with you her thoughts about art, inspiration, her style... and not to mention those beautiful pieces that will keep you in awe!

AN: Tell us a little bit about what it was like growing up in Sydney with strong Japanese roots.

When I was little, being half Japanese and half European was never something I was particularly conscious of being - I always just thought of myself as an 'Aussie', and being little, I didn't want to be seen as different really – I wanted to be the same as everyone else and to fit in.

Naturally though, I grew up with distinct Japanese influences and had strong ties to my Japanese background and culture which influenced me greatly and shaped my psyche. We regularly went to Tokyo to visit my relatives, Mum was an Ikebana (Japanese flower arranging) teacher in Sydney and we would speak in both languages at home. Our place was filled with lots of creative objects, photo's and paintings from both countries so it was a natural & integrated part of life growing up.

Obviously there were times when I was made to feel self-conscious of being part Japanese, but it was my dad who told me that one day I'd understand and embrace both my roots equally - and he was right! I'm definitely proud of both cultures.

AN: How did you come to form such a strong appreciation of art?

Art has always been a great part of my life. I come from a creative family on both sides and it’s a particularly strong characteristic of the Cowdroys.

On dad's side there are fine-art painters & artists,

NANAMI COWDROY

NANAMI COWDROY graphic designers, (political) cartoonists, writers.

Then on mum's side there are photographers, filmmakers and she herself did Ikebana. So from very early on, I'd been exposed to and developed an understanding of many different forms & styles of art. It's something that runs in the blood.

AN: Do you remember your first piece of art and how you felt upon its completion?

Generally speaking - it's the creative process which truly gives me a genuine feeling of freedom and contentment, as I feel connected to my inner being and imagination. It's hard to explain, but it has always just felt right. That said, with most of my work - when I finally complete a piece that usually takes a few weeks to do, I normally experience a mixed bag of feelings, both positive and negative.

I always feel a mix of satisfaction and apprehension, where I feel comfortable enough to step away from the piece but also apprehensive as to whether or not I’m ready to

let it go. As art is such a personal process I do pour a lot of myself into it and tap into a lot of stuff from within, so it can make me feel quite vulnerable.

Especially after spending a significant amount of time creating it, I do develop an attachment making it hard to let go at times because it feels like a part of yourself is now out there for all to see, so it can be a little daunting but equally exciting at the same time.

AN: Tell us a little bit about your style and what defines your artwork in its own uniqueness I love the colour black and being a meticulously obsessed perfectionist - I'm definitely one who enjoys getting lost and carried away with lots of detail and my artistic style reflects that. It allows me the perfect means with which to express my style without any boundaries.

My artwork is generally made up of mixed media, but essentially my artistic technique is quite traditional - I love illustrating with pen and lead pencil on paper, and this is the foundation and heart of all my work. I love to try to reflect a kind of refinement in my pieces, where I can compose as well as channel the chaos, and try to harmonise the complexity. I enjoy dirtying and roughing up clean lines and forms, as well as blending both Japanese / European subjects - it gives me a great sense of freedom to create and combine contrasting elements and techniques. While this may sound quite planned in actual fact the process is really organic and kind of just happens.

Also working with a dark, monotone palette is a challenge that I love! The contrast of black and white is how I feel most comfortable expressing myself. Unlike other colours such as red, yellow, blue - which often reflect or evoke a mood, I personally find the colour black draws me in and creates uniquely dramatic effects. In order to gain a deeper understanding and insight into something, it invites the viewer to look at things more closely. I love the sense of wonder that comes when you first see something that is hidden in plain sight.

NANAMI COWDROY AN: Your imagery is bold and strong, yet amazingly beautiful. How does this reflect on your personality as an artist?

Thank you. I guess being a creative person at heart, emotions are an integral part of my personality and they reside fairly close to the surface. I've always wanted to have 'thicker skin', which is perhaps why I tend to be drawn (literally) to subjects I feel have a sense of fragility and sensitivity about them. On some surreal level I feel a kind of affinity towards them. So by using bold lines and strong, definite forms - I love trying to 'toughen' up and bolster up my delicate subjects, to give them more of a sense of strength and permanence. I guess it's just my way of wanting to preserve them more, using ink as a means to give them a greater presence and solidity - because I do think they're beautiful.

AN: What and who inspires you and why?

I have a pretty freakish memory; particularly when it comes to remembering things visually. I don't know why or how - but my memories of things, subjects as well as the emotions associated with them do tend to be the things that inspire me. And inspiration comes from anything and everything. It's nutty what randomly pops into mind, or turns up in dreams and I experience dĂŠjĂ vu quite a bit also, but it's no secret I find a lot of inspiration in the humble, unassuming goldfish.

I've always owned them ever since I was little, and to me they're such simple yet stunningly unique creatures. I've always loved and have been

NANAMI COWDROY fascinated by their flowing and floaty forms - they're so expressive and I love trying to reflect that in my works. They're the perfect subject which allows me to create and combine both my hard edge style and curvy, organic forms. Not to mention, along with their delicate beauty - they equally display a curious kookiness which greatly appeals to me also, and the kind of feeling I like reflecting in my works.

Also, I love the work of the Surrealists such as Salvador Dali and MC Escher. Last year I went to see the Dali, Liquid Desire exhibition held at the National Gallery of Victoria, Melbourne - and it totally blew me away! It was so inspiring and a fantastic showcase of his work.

“

It amazes me - without the aid of too many fancy technologies, how some creative individuals can not only break the mould, but can completely turn it inside out, flip it upside down and open up new possibilities through the power of their thinking and the imagination

”

AN: Is there any particular piece or series that has stood out in particular for you and projected a stronger message about who you are?

That's something I'm still working on I think ;) … but "Blow Fish" is a work I definitely feel reflects some

of the desires in me to try and let go and follow my dreams. The silhouetted head in the work is actually my own, blowing away some goldfish and bubbles into the air. I created it at a pivotal time, where I had recently lost my dad who was a very important and influential figure in my life and the one who always encouraged me not to give up on my love of art.

AN: What is there in store for the future? Are there any upcoming events or plans in the making?

As far as new pieces go, it's been a while - but at last, I'm stoked to say I'm finally about to release my newest works. On a different note regarding exhibitions - I'm very happy to say I will be taking part in an exhibition called 'Tokyo Love' at Strychnin Gallery, Berlin Germany in September - I can't wait! Also have plans to take part in an upcoming show in Los Angeles at the end of the year (dates to be confirmed). I'm also finalising details for my first solo show hopefully happening in Canada early next year which I'm very excited about! Just gotta get some serious scribbling and coffee drinking done in the meantime ;) AN: Our readers are artists just like yourself. Any words of advice that you could pass onto them to encourage their creativity?

Stay true and trust in your own creative instincts and skill - it's the stuff that cannot be taught, and I feel lies at the heart of creative individuality & originality.

To find out more about Nanami or to delve deeper into her work visit www.nthread.net

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by Simone Colosi

hile brainstorming the approach to take for this article, an ingenious member of the Aesthetics Now team giggled and said “Imagine Culinary Art and Visual Art are having lunch at Bondi Beach; Visual Art goes back to Culinary Art’s house and together they partake in an act most of us keep behind doors... and 9 months later Stanley Street Station is born.”

Okay, so aside from personifying the various arts, my original thought when I heard this was “Oh my goodness, I work with a clown”. It was only after my many attempts at trying to convince him of his delusional concept and being rebutted that I realised exactly how right he was; Stanley Street Station was the brilliant conception of an environment fused with multiple fields of art, that stimulates your creative senses and fuels your artistic mind.

Snuggled in the corner of Sydney’s busy Crown and Stanley Street, you are invited to take a step onto the platform and venture into an artistic playground.

Enter through the doors and to your right are the culinary minds, hard at work

perfecting the flavours that hit your palette. To the left are some tables, cleverly surrounded by small screens that play short videos that have left a favourable impression within the film industry.

Yet your journey through this restaurant is far from over; as you follow the tables around the bar you are met by a number of comfortable sofas, a bookshelf that delves into the ideas of psychogeography, a combination of game boards, and an array of artwork sprawled across the walls to be seen from every corner of your eyes.

pages of volumes of knowledge. All this coupled with the tiny details likening this restaurant to a train station environment – such as the scene of a wreckage beside the coffee machine, complete with miniature people involved in or vulnerable to pain – add to the unique surroundings that you are met with as you take the chance to come on board for this interesting ride.

Stanley Street Station is a dining experience which hits the core of all of your senses. The beautiful aroma of the terrariums target your sense of smell, while the enticing flavours of the menu dance upon your taste buds. The smooth sounds of 50s music or the talented DJs of the night have your ears begging for the evening to linger on. While mindfully engaging yourself in a range of games you not only target your sense of touch but also challenge your mind as you wistfully think of new tactics to win.

Last but not least your eyes are in constant motion as they jump from artwork to film and through the many

as they jump from artwork to film and through the many pages of volumes of knowledge”

“your eyes are in constant motion

I have many times dined at this restaurant and can honestly say that I thoroughly enjoy the atmosphere and experience. All personal biases aside, there are 14 friends I took along who

STANLEY STREET STATION would totally agree. We chose from a variety of different delicacies and snacked from each other’s plates eager to choose a crowd favourite. Rave reviews were had of the the Pork Belly. Not only the favourite of my hungry tribe, Greg Vankuyk, Owner and Chef at Stanley Street Station agrees as he tells us “It’s very naughty but nice; crispy skin pork belly with sautéed Asian greens, dressed chard and apple jus.”

With a stunning food menu, expectations must be set high for the beverages that complement the meals. Bec Foley, Manager of Stanley Street Station joins us while we dip our taste buds (literally) into the luscious flavours on the drink menu, and while we love the sweet aromas and the beauty of the gentle hues that mix within our glasses, she is very quick to let us know which beverage hits the spot for the patrons every time. “The Moore Club, which is dedicated to Clover, happens to be really yummy and we use our own house raspberry syrup.”

Another brilliant idea from the Stanley Street Station team, naming a cocktail after a loyal woman that has left an important mark in Australian society.

“to see such discerning customers reward us with their patronage is telling us that

what we're doing is bang on”

What we are served on our plate is visually pleasing. In an artistic environment our meals are presented in their own creative way; layer upon layer each element plays an important role in adding to the contrast and beauty of these interesting meals. Needless to say, that with Greg’s fantastic culinary bible embedded inside the back of his mind, we wouldn’t have expected anything less. Having cooked for 15 years, Greg’s skills have seen him move to London where he worked at “OXO Tower and The House of Lords”, creating mouth watering masterpieces for the likes of the Queen and Dalai Lama. I giggle as I write this because I often hear my mother say to me that her cooking is ‘fit for the Queen’; yet in Greg’s case this is actually true! It’s no wonder the next move was to embark on his own venture, bringing his skills and artistic passions to what is now Stanley Street Station.

So how did the concept of Stanley Street Station arise you ask? Artist Amy Yong Siri, who was commissioned to design and create the atmosphere of Stanley Street Station, tells us that the concept is loosely based around psychogeography.

“This space touches on the notion of Sydney as an urban playground. All the elements of the space from the bar and dining areas to the artworks and terrariums and accident scenes pay homage to the idea of micro climates and the way that certain markers in a space lead people here and there and encourage them to use the spaces in the restaurant in a way that is dependent on them.”

While psychogeography can come across as a daunting and quite complicated concept behind an environment, the way in which it has been applied tenderly to Stanley Street Station acts as a “gentle introduction to it by encouraging people to wander in and throughout and drift. “

Having launched only weeks ago this creative space has been an instant hit!

“We have been busy ever since launch which is just brilliant. Probably the most rewarding thing has been seeing locals returning night after night. It's such a great savvy area here and to see such discerning customers reward us with their patronage is telling us that what we're doing is bang on.”

With plans for moving into the future, constantly developing what Stanley Street Station has to offer, Amy “would love to see the space exhibit a range of local artists regularly so that the way that we understand Stanley Street Station and its context in the Sydney playground is through the interpretatiotns of young artists and designers.” She also tells us that “in the near future there will be more art and design works in the space so that regulars can come in each time and be approached with a different kind of welcome.”

Stay tuned in issues to come for more information on this creative atmosphere as Aesthetics Now takes a journey through Stanley Street Station in the lead up to our monthly art event. Jump on board, take a comfortable seat and prepare to be awoken to all of your senses as you discover the levels of enlightenment that art, music, and delicious food bring on this joyous ride.

Visit ww.stanleystreetstation.com.au to view to scrumptious menu and to take a sneak preview at what Stanley Street Station has to offer!

Austrlain cheese Lavash, Muscatels & Predilecta guava paste

Krishna Pakora

300g New Yorker

Pannacotta Vanilla Bean Gelato

if only they had

by Neville Ewers

W

ith all the great marketing possibilities and personal connections we gain through twitter, there is is still that negative 9th Grade High School pressure to always be smart, funny, witty and inspiring. Who the hell needs that ?

Well we decided to pass on this pressure to some of our favourite people of the past. They haven’t let us down.

TheRealMrMarley @PTosh made I a slingshot today... make that 2 little birds by the I doorstep 6 minutes ago via web

DaVinci So guess what a month alone in Florence with @monalisa gets you?... a big comfy seat in the friendzone #FAIL about 30 minutes ago via TweetDeck

LudwigVanB Played 9th Symphony on a Vuvuzela today... in other news, apparently bee stings send me in anaphylaxis shock #whoknew about 1 hour ago via Ăœbertwitter

RayCharles My key seems to be stuck, can eel it... AWW UCK... this is not unny about 1 hour ago via TwitBraille

ColumbusC Last time I checked, the score was still Columbus 1 - @googlemaps 0 1 minutes ago via ÜberTwitter

WillShakespeare Worst Hamelt performance in history today, experimented with a mime at lead, can you say #awkwardsilence about 1 hour ago via Übertwitter

Nietzsche Dianetics is DEAD! about 1 hour ago via Übermensch

....and don’t forget to follow us

twitter.com/aestheticsnow

words by Allison Charmaine

ANIKIKO love with a particularly

awesome gift - he put

freedom of the clubs, and later enjoyed the privilege of being the designated driver, taking her parents to big band performances. It was at these clubs she would sit and write: whether it be poetry or her emotions in their rawest form. These poems would later form the base for her music, such as her third release the EP “Soul Naked Before You”, and her soon to be released fulllength studio album.

will admit that I started my research for this article by watching her video for the track “Like No Other”. Before reading the press release, the biography, or even the interview questions – my intention was to take a peek at the video to see if I was interested. It was only when I had heard the applause at the end of the video, which I admit was well-directed and produced that I realised I had just spent 4 minutes and 38 seconds with one thought: where can I get this song for my playlist?

A Kinesiologist, her artistic parents encouraged her to study psychology instead of embracing the title of musician. Her decision to pursue a musical career which she wittily describes as an illness, and the only remedy being to “create, write and tailor/refine the art” – is one she stumbled upon.

In her own words:”I fell in love with a particularly musical boy who gave me an awesome gift - he put music to my words and melodies.”

I fell in

musical boy who gave me an

music to my words

Her voice, which has been compared to Beth Gibbons (of Portishead fame), while being a fair comparison and a compliment – is not even close to being an imitation. I could sit here all day and think of cute adjectives and phrases, and not properly describe the pure quality of her voice and the beautiful range she employs to deliver equally beautiful lyrics.

However, before I go off on a tangent that might resemble a newfound girl-crush: let me give you the facts about this songstress. AniKiko, a Czech-Australian singer/songwriter currently residing in Sydney, New South Wales launched her EP “Soul Naked Before You” in April of this year. To fully appreciate her as both singer and songwriter, you have to understand her background. Her mother was a classical flautist, and her father a poet and trumpeter who one could say helped to hone her natural talent by exposing her to jazz clubs, and performing on stage.

By her own admission, AniKiko hated the piercing sound of the flute, and the “farting” sounds of the trumpet that often filled her small childhood home. Her parents who never believed in babysitters would take her to musicals and jazz shows from an early age. The alternative to these outings was staying home with her brother and listening to him blast Poison and Van Halen while he did chores. Needless to say she preferred the

Dear Particularly Musical Boy, we thank you.

Without that encouragement, this musical talent would have ended with a Grade 5 performance (accompanied by her father Czech revolutionary poet and musician Jiri Neradilek) of “Slow Boat to China”.

When asked about her musical nfluences and the development of her unique sound, AniKiko credits her early exposure to the trumpet and double bass found in Jazz. “I like the space the double bass creates and I have so much room to fill in the gaps with melody and lyrical phrases.

I also am drawn to the intensity of artists like Nine Inch Nails - Trent Reznor and the beats or electronic influences of trip hop artists like Portishead or Massive Attack.”

Good musical foundation aside, she draws from life to create

music: she is inspired by people and relationships.

“Music doesn’t need to be encouraged by anything in myself. It happens and continues – rain, hail or shine.”

She acknowledges the plight of artistes in this simple statement: “I find encouragement more applies to the times when you wonder how you can keep going to sustain the amount of time; dedication and commitment to a project when all blood, sweat and tears don’t necessarily support the new equipment you need to buy, etc. That’s when the handout from the folks really comes in handy... (Laughs) or when someone just says how much they were moved by a track you wrote or when a company wants to use your track for licensing.”

By now, deciding she is both talented and beautiful, Aesthetic s Now decided to attempt to stump her with a standard beauty pageant contestant question. She did not falter for one second in her response.

Music doesn’t need

to be encouraged by anything in myself. and continues –

It happens

rain,

hail or shine

AN: Our readers are artists just like you. If you could give them some words of wisdom to encourage them to continue fuelling their creative passions, what would they be?

AniKiko: “I would have to say keep going and learn to ask for help and support. Find a strong team as I do believe when you are on your own as an artist the community, family, friends, society, public can quite easily make or break you.

I wrote this song – "Like No Other" that speaks exactly of that support and is inspiring to me – to keep fine-tuning your craft, keep expressing and asking the questions of yourself most people do not dare to and you will crack through. I dedicate that track to my dad, Jiri.”

With a new album being released on September 30th and a roster of live shows including: Vangard (Newton, New South Wales) on September 30th, and Vault 146 (Windsor, New South Wales) on both October 29th and 30th – this artiste is busy sharing her amazing voice and soothing lyrics. Speaking of sharing her music, her thoughts on travelling and performing before a live audience perfectly sums up how I feel about her: “It feels connected. It feels universal. It feels boundless and timeless. I hope that I get more opportunities to do this.”

For more information and performance updates on this artiste, please visit her MySpace profile: http://www.myspace.com/anikiko

is Grandmother handed him a melodica at a young age, and told him to “just play”. The melodica, a free-reed instrument with a musical keyboard on top, played by blowing air through a mouth piece that fits into a hole in the side of the instrument, is not exactly how most musicians would describe their first direct contact with creating music. Without any knowledge of notes, technique or style, he took his melodica, and just played. This was the first spark for Kheaven Brereton, popularly known as K-OS (pronounced “chaos”) that would light the tunnel towards his destiny.

With 4 albums to his name – Exit (2002), Joyful Rebellion (2004), Atlantis: Hymns for Disco (2006) and Yes! (2009) – each with writing and production credentials, as well as playing in a live band at times during his shows, a rare sight in hip hop, K-OS is a fully groomed, well-rounded veteran in this music industry. If he can call up Crazy Legs and the Rock Steady Crew tomorrow for some B-Boy lessons, I’m personally dubbing him “The Hip Hop Swiss Army Knife”.

K-OS has through the years formulated a style of his own that has been modelled off some of the original pioneers of the genre. “My sound was based more off the Fugees and A Tribe Called Quest, but I get Black Eyed Peas a lot, guess I look like him (Will.I.Am)” he chuckled. Truthfully, if there was a celebrity-only celebrity lookalike contest, my money would surely be on Will.I.Am in resembling K-OS, and vice versa.

This however, has absolutely nothing to do with his musical style, and once you hear K-OS on the microphone, you understand something significant is happening.

Originally calling himself “Cosmic” due to his early fascination with space and Star Wars, Kheaven went through a number of name altering phases before becoming K-OS. “There was an episode of Seinfeld where they found out that Kramer’s real name was Cosmic, after that my dad would repeatedly make fun of my name, I had to change it so I dropped the last 3 letters to become Cos” he told us. “It then went on to become K-OS, which at the time stood for Kheaven’s Original Sound”. The final modification came, as much as a surprise to K-OS as it did to everybody else. In an elevator, the question was randomly posed what did K-O-S stand for. “Knowledge of Self” were the three words that rolled off Kheaven’s tongue, three words that at the time came as a shock to him – three words that have stuck ever since.

At an early point in his career, K-OS decided that his music would not be stereotypical hip hop. Without sacrificing self-worth for success, he has consistently produced conscious music with a message. Being a humanitarian, K-OS described how the first humanitarian work any artiste should do, should be the work he/she produces. “Your humanitarian work should actually start in your (art), making it environmentally safe which is being concerned about the messages and ideas you put out there”.

Years later, K-OS is still using his talent to spread his knowledge, most recently through his 2009 album Yes! K-OS’s work on Yes! is a concoction comparable to the efforts of Victor Frankenstein, the hard work of a mad scientist, whose efforts result in the creation of what can only be considered a “beast”. Easily his best album yet, Yes! is

WORDS BY NEVILLE EWERS

a moving and conscious piece of work that exemplifies the level of confidence and comfort the artist has found within himself and his abilities. With a wide array of styles, K-OS shows off his willingness to experiment with sound, and that his versatility is just as strong behind a production board as it is behind a microphone. “I don’t wake up trying to sound like anyone, I grew up in the suburbs listening to different sounds, from Fugees to Bob Dylan, and it comes naturally” he said when asked about his style; “It’s just what I know”.

in the right direction in terms of what they should focus on with the progression of their careers, and of course his response is one of true inspiration; a message K-OS has been consistent with communicating since the release of his first album Exit.

K-OS: It’s more about saying that you should be yourself, looking towards people like Bob Dylan who said that great artists are people who are either running towards God or running away from God, and then in that way there’s the underlining fact that as long as you tell the truth to yourself The progression of Yes! has since gone through another and God, then that’s all you really have to be concerned transition with the release of Yes It's Yours (Fan Remix about. The real justice of the world is knowledge of self, Album). Yes It’s Yours is a special remix being truthful to yourself, being version of the Canadian rapper’s 2009 truthful to some higher power that you album. It is comprised of tracks from believe in, whether you call it God, the the 2009 studio album mixed by fans universe, energy. Also in that, no of the artist from all over the world. “It matter how awkward you are, no wasn’t easy” K-OS admitted. “As artismatter how weird you feel, just be who tes we get very sensitive about our creyou are because that will pay off in the ative work, this helped me get more in end; when you just be yourself, you touch with my fans and helped me to let don’t need to feed off other people’s go and share my work”. This is easily one ideas but (can still) be inspired by of my favourite concepts yet. I can only other great artistes. If you follow a imagine the look on the faces of salivatperson’s footsteps you can only go as ing young producers jumping at the opfar as they can go. Pretty soon you portunity to put their creative vision on have to create your own path so my one of their favourite artiste’s work. It’s whole thing was trying to carve a path also quite impressive to see an establishof my own from the beginning while ed musician agreeing to such a risky still loving certain artistes and trying concept. to emulate them as well. Quincy Jones said something along the lines of “you At the moment, K-OS is enjoying the need to pick an artiste you like, try to idea of being free within himself and be them and try to sound like them with his music, currently touring with because you never will”. That no present plans on the next studio al(statement) being said is very true in “THE REAL JUSTICE OF THE WORLD bum release. Fans should hold the river the sense of everyone is original and IS KNOWLEDGE OF SELF, BEING tears for another day though, as we won’t you like someone original, whether TRUTHFUL TO YOURSELF, have to wait long to hear new material you like Michael Jackson or whether I BEING TRUTHFUL TO SOME HIGHER from K-OS. “In July, we will be releasing like (A) Tribe Called Quest, or Lauryn POWER THAT YOU BELIEVE IN” a new mix tape titled Anchorman; this Hill or whatever, these are the ones I one is for the fans.” The interesting title look up to and some people say “yeah for mix tape came from, as you have probably already you can hear that”, but for the most part it goes over your pondered, the 2004 Will Ferrell comedy of the same name. head who I really love. Some artists want to control outer “I love that movie; we’re always watching it on the tour bus. space, and some artists want to control inner space. Some Throughout the mix tape will be quotes from the film.” To people get off on being top of the charts and want to control that, all I can say is “I’m legendary anchorman Ron outer space, they want to control money, they want these Burgundy. I’m sitting here in my aqua jet 9000 enjoying outward things to make them feel secure about the art that uh...well my favourite meal of steak, waffles, french fries, they do. Some artistes are cool with the inner space, they and of course scotch. Now if you don't think this is the want to feel cool within themselves, and then there are greatest mix tape ever...I will fight you. That’s no lie.” artistes who are both. That’s all the advice I would give.

Really by having some understanding of yourself and then As per usual, I asked K-OS to leave a few words of wisdom going into the world and realising that, you can do whatever for aspiring artistes; for our young readers who need a push you want to do”.

MINIMALIST POSTERS

Jamie Bolton http://jamiebolton.com/

BOOKMAN REVIEW

The Magic Of Reason

from Justine Larbalestier

by Dutty Bookman

W

hat is magic? What does it look like? Would we know it when we see it? Does it even exist in our world? Is it a supernatural phenomenon or is it one of humanity’s conveniently discarded and forgotten natures? Is magic a sort of sixth sense that can be developed during our childhood in the same way that modern education develops our cognitive and logical brain functions?

Justine Larbalestier’s The Magic of Reason might evoke these very questions. The thickness of the publication, slightly intimidating, is less so when it becomes clear that it compiles a trilogy: Magic or Madness (2005), Magic Lessons (2006) and Magic’s Child (2007). The first introduces the reader to Reason Cansino, a 15-year-old Australian girl, deliberately kept away from her magical heritage by her mother, Sarafina, who named Reason as such because, as the inside flap of the book describes, she “liked it better than Logic or Rationality or Intellect – all good words representing the calm, ordered certainty that opposed Esmeralda’s world.”

Esmeralda, “a real-life witch,” happens to be Reason’s grandmother. Conditioned to avoid her at all costs, Reason had been living in the Australian Outback for most of her life when destiny changed her course. She suddenly finds herself living in Esmeralda’s home when Sarafina is captured and delivered to a mental ward. Thus begins a previously unfathomable journey for the young Miss Cansino.

Along the way, Reason finds herself travelling to New York where she encounters new acquaintances bound to her by the fate of a twisted reality with which she struggles to

mentally adjust. The brilliance of Larbalestier is in the way her s short chapters communicate the perspectives of the three main characters, Reason, Tom and Jay-Tee. In addition, the language slightly changes depending on whose reality the chapter surrounds – Reason’s and Tom’s chapters are meant to have Australian characteris tics due to their origins, while the chapters for Jay-Tee, the American, displays American mannerisms, vocabulary and grammar. Even the way words are spelt reflects the version of English known by the subjected protagonist. In this literary strategy the reader is made to feel like a fly constantly transporting from wall to wall, getting a more complete picture from the various points of view. This intensifies the drama and turns out to be a delightful experience. The second instalment in the series progresses with less disbelief in magic powers and further exploration of the deeper truths associated with Reason’s magical heritage. The third and final episode, then, brings with it some conclusions, closure and new beginnings.

One of the more interesting aspects of this fictitious story – the Fibonacci series as a factor of magic – might seem a little disconcerting at first. What could a mathematical phenomenon have to do with magic? Apart from the fact that the reader would first have to believe in the magic that the book supposes by the time this revelation takes place, the Fibonacci series is nothing more than an abstract scientific concept to most people who have ever come across it. What could be magical about something used in computer algorithms or financial market analysis? Then again, those markets could very well be the hocus-pocus responsible for the world’s repeated economic crises.

Magical indeed.

Nature is garrulous to the point of confusion, let the artist be truly taciturn.

Paul Klee

You can't depend on your eyes when your imagination is out of focus.

Mark Twain

“I shut my eyes in order to see.”

Paul Gauguin

TO BE NICE words by Deidrian Williams

To be nestled in your arms At a time like this, to have lived A moment like this, at a moment like this

To have your a In a net of safety, t That, for me to

arms encircle me to be touched like o feel like that

To have your lips touch mine In a manner like that, to be able to Dwell like that, on a taste as soft

To have your deepest desire opened to me To an extent like that, to be able to partake Pleasurable bit by bit on that building desire...

To be able to enjoy you as I do In moments of dark, in moments of light, In the way I do, in the manner I’m able, To appreciate you, and all there is, in a Moment like this, at a time like this, In a place as this, is simply...wonderful

TOP 5 CULT CLASSICS

TOP 5 CULT CLASSICS OF THE LAST TEN YEARS otherwise known as “Reefer Madness”, an absurdly alarmist PSA on the dangers of marijuana.

Ironically, the film went on to become a staple of the late night stoner crowd who unfortunately did not succumb to the evils of jazz music and fornication as Harry Anslinger predicted.

A

s the old models of marketing and distribution bow down to the ubiquitous presence of the Internet, you’d be hard pressed to find a more hotly debated topic than the criteria needed to elevate a film to cult status.

The main aspect which defines a cult film is its relative obscurity, as if it were some sort of secret which only a small group of devotees knew about. “Unusual” and “hard to find” are becoming increasingly difficult to define in an age where anything and everything is available to anyone at the click of a mouse; a time when literally any film is available to be ironically viewed out of context.

In the early days (as far back as say, 2002), it took some serious dedication to amass the repeated viewings and word of mouth promotion needed for a film to earn its rightful place in the cult canon.

Early cult films were of the “so bad it’s good” variety: the campy B-horror and low-budget sci-fi of Ed Wood; exploitation films like Tod Browning’s “Freaks”(1932) and “Tell Your Children” (1936),

The 60s and 70s were a good time for the night owls, weirdos and other members of the counterculture; films like “Eraserhead” (1979), “El Topo” (1970), “Night of the Living Dead” (1968), “Pink Flamingos” (1972) and “The Rocky Horror Picture Show” (1975) dominated the midnight movie circuit, covering varying themes of transgression and subversion of the current social norms. “The Harder They Come” (1972), the Jamaican film equivalent to Bob Marley, flopped on release, but ran as a midnight movie for 6 years, helping to spread a love of reggae in the US in the process, and inadvertently causing me to incorporate “avoiding mindless hippies with dreadlocks” as a part of my daily routine. “Night of the Living Dead” (1968) went on to become the definitive influence of the zombie genre, with its satirical take on American consumerism, a theme critics lauded and George A. Romero famously answered “Ah, ok. Yea sure that’s what I meant!”

Another aspect of cult films is that

they usually take on a life of their own, usurping the director’s original intention. That’s actually the best litmus test for the authenticity of a cult film, weighing the intention vs. the outcome. Taking this into consideration, recent movies like “Snakes on a Plane” (2006) and the Paris Hilton mess, “Repo: The Genetic Opera”, are obvious attempts at manipulating the mainstream audience with more Hollywood pre-construction. If “Snakes on a Plane” (2006) became cemented in pop culture, it was perhaps more due to the purposeful inclusion of Samuel L. “Mother Fuckin’” Jackson and a clever marketing scheme catered to the woefully naïve, than any kind of natural evolution on the film’s part. Some harbingers of doom have gone on to claim “The Big Lebowski “ (1998) as the last of the true cult films, a personal favourite of mine that was slaughtered by the critics upon release and has since gone on to spawn a yearly festival and the philosophy of life known as “Dudeism”.

Regardless, recent times have spawned some prime additions to the new cult canon, riding on the coattails of their predecessors, who paved the way for the strange and unconventional to take their place in ‘normal’ society. Here’s a subjective look at some of the better films of the past decade I believe have earned the right to be authentically defined as “cult”.

By Tasha Williams

TOP 5 CULT CLASSICS

BATTLE ROYALE

Kyouichi Motobuchi:

If I survive, can I go home?

Teacher Kitano: Yes, but only if everyone else is dead!

Director: Kinji Fukasku Writer: Kenta Fukasaku (based on novel by Koshun Takami) (2001) Growing up in the complacent West, it’s easy to walk out of a film like “Battle Royale” (2001) brushing it off as “just a movie”.

Not so for director Kinji Fukasku, whose inspiration to make the film came from his own real life experience as a 15 year old munitions worker during World War II. His entire class had been drafted, and in July 1945, were caught in artillery fire and forced to act as human shields to survive.

Those left standing had to deal with the chore of disposing the corpses of their former friends.

The hatred young Fukasaku felt at the time towards the adults of his nation and the bad decisions they made are brought to the surface in his ultra-violent adaption of Koshun Takami’s cult novel, “Battle Royale”. A faithful conversion, it was inevitable

that the film would follow in the book’s footsteps and become a staple of the new cult canon.

Although achieving box office success overseas, the film didn’t receive a US release outside of festivals, and rumours of its American ban, fueled by its conspicuous absence from any video store, only increased the anticipation felt when one finally got a hold of a friend with a Netflix subscription. Despite the excessive violence and gore, the “Battle Royale” isn’t all shock and no substance. It serves as an extreme allegory on the “dog eat dog” nature of life; a literal lesson on “kill or be killed”; Lord of the Flies on acid. Like its predecessor, “Cannibal Holocaust” (1980), the film employs a stark contrast with its theme music, the haunting overture ‘Dies Irae’ playing in the background of a murder by multiple gunshot.

The release of the DVD was postponed in 2004 when life decided to imitate art in the infamous Sasebo slashing, a murder taking place in a

Japanese elementary school, predictably blamed on the film and media violence in general.

Of course, the controversy has only increased the films staying power, spawning a manga series and a sequel I’ve chosen to ignore, but making up for it by introducing Quentin Tarantino to a young Chiaki Kuriyama, otherwise known as Go Go Yobari of “”Kill Bill”.

TOP 5 CULT CLASSICS

Director: Richard Kelly Writer: Richard Kelly (2001) ocrates astutely stated that wisest is he who knows he does not know. Apparently some Donnie Darko fans didn’t get the memo. In the years since its release, it’s not so much a question of have you seen the film, but when? There’s a rift between the persons who stumbled upon the film during their own private meanderings, and those who caught on after it had already achieved mass appeal. One side cries “wagonist”, while the other cries “snob”; to bring out the true poseurs, just ask them to explain the plot. Nonetheless, it’s a definitive film of the 2000’s,

mixing coming of age drama with period piece and science fiction to create a whole new breed of genre bender and elevating the star power of a then unknown Jake Gyllenhaal.

His idea laden films usually require multiple viewings to appreciate, which helps to explain the dismal box office returns. With a budget of $4.5 million, the film barely managed to scrape past the $100,000 mark on its opening weekend. It was actually saved from the straight to DVD market by Drew Barrymore, whose production company Flower Films fronted the money for public distribution, thus explaining her previously inexplicable presence. There are other inexplicable presences in the film, most famously Patrick

Swayze’s portrayal of a snake oil selling life coach who manages a “kiddie porn dungeon” on the side, perhaps one of his most memorable roles. Donnie himself represents the high school everyman, a hero for every disillusioned kid who can’t shake the feeling that he’s a pawn in a game he didn’t sign up to play.

The film’s increasing popularity led to a production of various books and supporting material, the release of a director’s cut in 2004, the spawning of a wretched sequel and a flood of merchandise in stores like Hot Topic, predictably capitalizing on its established appeal to “emo” kids. But some of us can remember a time before “The Prince of Persia” (2010), when one insomniac night flicking through the channels, we stumbled upon that “weird movie” with the “killer 80s soundtrack”, and “a guy in a giant bunny suit named Frank”.

TOP 5 CULT CLASSICS

BRICK Brendan Frye: Pin? The Brain: Pin. The Pin? Brendan Frye: The Pin, yeah?

The Brain: The Pin is kinda a local spook story, yeah know the King Pin. Brendan Frye: Yeah, I've heard it.

The Brain: Same thing, he's supposed to be old, like 26. Lives in town.

Director: Rian Johnson Writer: Rian Johnson (2006) High school is a microcosm of the real world, shrouded in secrecy and doublespeak, populated by caricatures more than actual people; life with the drama amplified.

It’s a wonder it took someone this long to make the analogy with film noir, a genre that has evolved to become a cult within itself.

Brick (2006) is a hard-boiled detective story set in suburbia, surrounding a dead body, and a cast of shady characters driven by unabashed self-interest. Brendan (Joseph Gordon-Levitt) is our

anti-hero, absent of morals, the brooding loner with an idee fixe; protecting the woman he so desperately loves. The other students represent various noir archetypes; dippy dames and femme fatales; the criminal master mind with his lap dog muscle; the go to guy for information.

Besides the typical meathead jocks, it’s high school without the awkward, everyone acting with the restrained emotional assurance of adulthood. The absence of actual adults isn’t realized until we’re actually presented with one in the form of the collaborating vice principal and the absurdly comical interrogation scene that takes place in his office. The only other adult presence is the mother of the local drug dealer, The Pin, sweetly questioning Brendan on his choice of beverage after he’d been beaten up for threatening to expose the drug dealing racket

The rest of the film plays like some dark version of Charlie Brown, without the unintentional philosophizing. her too-old-to-still-be-at-home son is running in the basement of their house with the “tacky mailbox”.

There is no small talk, no conversations without purpose and no delusions of morality when it comes to getting what you want. Upon release in the US, the film fell shy of the $100,000 mark, not coming remotely close to matching its almost $500,000 budget. Some may be turned off by the snappy dialogue and esoteric slang, but the film is dripping with “cool” and the convoluted storyline is bound to bring the intrigued viewer back for a second watch.

TOP 5 CULT CLASSICS

THE

DESCENT Director: Neil Marshall Writer: Neil Marshall (2005) “The Descent” was the film that single-handedly renewed the faith of many disillusioned fans of the Western horror genre. Most modern horror is marketed towards the young, still living in their worlds of fantasy, viewing life through veils of subjective idealism.

Ironically, youth is the least scary part of life, mostly because of the cushion these very ideals provide.

Once you cross over into adulthood and have nothing to face but the reality of your own cold hard mortality, everyday life can get quite scary indeed. It’s unfortunate that more filmmakers don’t tap into this limitless potential, instead churning out more and more of the mindless PG-13 slasher fare that has come to

I'm an English teacher, not fucking Tomb Raider

Neil Marshall tells the story of a group of thrill seeking friends reunited in the aftermath of a tragedy, who take a trip to the mountains to go spelunking. dominate the box office. I was preparing myself for yet another disappointment when I allowed a friend to convince me to fork out the $10 to see The Descent at the theatre. How lovely it is to be pleasantly surprised. The film was originally released on just 2 screens in the US, grossing a mere $9000 in its first weekend but later given a wider release as news of its critical worth began to spread by word of mouth.

Blending the psychological thriller with the creature feature, director/writer Neil Marshall tells the story of a group of thrill seeking friends reunited in the aftermath of a tragedy, who take a trip to the mountains to go spelunking. If you’re like me, the first question that probably came to mind was “Who in the name of

all that is sane WANTS to go spelunking?” Under normal circumstances the entire excursion sounds like a bad idea to begin with: claustrophobia, darkness, stale dank air. Oh, did I mention the blind humanoids stalking from every corner waiting to eat your entrails as you lay screaming helplessly into the dark? Yes, there’s that too. What mostly differentiates “The Descent” from usual fare is that you’re scared witless before any of the creatures ever shows its face. The tight shots and Dutch angles have you empathizing with the characters plight a bit more than you’d like, and there’s a subplot of human drama that might have you side-eyeing your friends a bit, wondering what effect such context could have on your seemingly established dynamic.

The dichotomy of the UK/US endings could easily replace the “half empty/half full” glass analogy as a perception of life, while the feminists among us will surely rejoice the all-female cast.

TOP 5 CULT CLASSICS

MULHOLLAND DRIVE "It'll be just like in the movies. Pretending to be somebody else."

Director: David Lynch Writer: David Lynch (2001) I’ve found the hardest aspect of watching a David Lynch film for the first time to be ignoring the inevitable feelings of frustration at the film’s apparently blatant attempt to not make any sense whatsoever. At the end of his 1979 classic “Eraserhead”, I turned the television off and sat there for a moment, contemplating the strange sensation that I had just been conned. I think it was after writing the line “tiny old people run from under door, laughing maniacally” that I stopped making notes about “Mullholland Dr”. I scratched my head in confusion – not at the superficial incoherence of the film, but that despite this fact, I knew on some unconscious level I liked it.

Trying to discuss it the next day with a fellow film loving friend led to the comment “blah blah fucking Lynch” and him logging off MSN Messenger.

The consistently transgressive nature of Lynch’s body of work has spawned a cult within itself, but “Mulholland Dr” is the film that manages to toe the line of obscurity, but maintain enough semblance of a coherent narrative to keep the viewer engaged. Until about an hour and a half into the film you might just be convinced you’re watching a regular movie. Originally shot as a television series, the film charts a sordid tale of the Hollywood dream gone wrong, through a mashup of symbolism, fantasy, and subconscious yearnings; the differences between the selves we’d like to be, and the selves we really are. The bright eyed aspiring actress fresh off the bus from Bumblefuck, Nowhere; the aging Hollywood star, caked in makeup and regret; the director with no control over his own movie, or the affections of his cheating

wife. Adored by critics despite its meager financial success at the box office, the film won Lynch the Best Director prize at the 2001 Cannes Film Festival, and a Best Director nomination at the Academy Awards. A select few, as well as the mainstream audience spoon-fed on a diet of commercials and Michael Bay, brushed the film off as incoherent nonsense, but Lynch is renowned for always having something to say, just not letting you know much about what that might be. He forces you to think, to contemplate the work and formulate your own opinions as an engaged participant versus passive observer. He encourages us, as any good artist should, to use his vision to form our own, challenging our sensibilities and established conventions.

Anyone looking for neat resolutions will find only more questions. Is the first half real? Is any of it real?? Is Naomi Watts going to hook up with the hot chick from The Punisher??? (“Please God”, says every man reading). Just who is that cowboy, and where are his eyebrows? Some questions may remain unanswered, and Lynch will never tell, but like our daily meanderings through life, the thrill is in the seeking. Pay attention. Everything, and nothing, is significant.

MIFF2010 f I were to write a memoir on my life, feelings, and all things important to me I would simply walk into a publishing house and hand over my yearly diary. On this Sunday morning staring back at me from the corner of my eye I can see my biography sprawled open, post-it notes messily sticking out of the top (and sides) of the pages, scribbles that detail the numerous tasks you have to complete when running a company, every few pages stumbling across a date followed by a smiley face or small hand drawn emoticon that briefly summarises the way I feel about what is written between those lines.

On the bottom of pages is where I pen important days that I need to remember annually. I put them here so that when the year comes to a close I know to flick through the pages and transfer these dates into my new diary. These significant days include such events as: loved ones’ birthdays, Christmas, Australia Day, and Melbourne’s International Film Festival – an event that expresses the importance of film as a creative medium and that has played a significant role in shaping the way that this art form has developed and been

appreciated not only within Australia, but on a global scale.

THE FESTIVAL ALLOWED SOCIETY TO COME TOGETHER AND LOOK

the Programming Department. It’s safe to say that when families reunited post-war, they were keen to rebuild the lives and environments they embraced pre-WWII. The idea and development of the festival allowed society to come together and look toward the future, taking interest in creative pieces that took them away from their vivid pasts. The only way forward was to allow for its success, continued Carey; “it has grown so much in the last 59 years since then, it’s almost probably unrecognisable compared to those days, and it’s an interesting observation that you make as the years go on”.

The MIFF is the development of quite an interesting concept – war.

As WWII came to an end there was an international movement of film societies where culturally, people started to form their own groups and import foreign language films.

“MIFF actually grew out of a couple of film societies getting together who thought they’d put on an annual film festival”, confirms Michelle Carey, Head of

MIFF is in a league of its own, as it strides in leaps and bounds above the rest in playing an important role within Australia amidst other budding festivals. “MIFF has a very very young audience with a lot of students, young film makers, artistes, and musicians. The key to that is that MIFF tries to involve a lot of the arts. Young people are busy, they’re fussy, they want to be in control of what they see so we do a lot of events and films that really speak to the different niche groups, whether people be into visual arts, or music, or animation, or books”.

Melbourne’s International Film Festival, celebrating its 59th staging this July, is the biggest film festival to take place on Australian shores. Running for seventeen days each year, the MIFF sold a whopping 190,000 tickets in 2009, in so doing showcasing the crème de la crème of international film in a relatively short period of time.

THE IDEA AND DEVELOPMENT OF

TOWARD THE FUTURE, TAKING INTEREST IN CREATIVE PIECES THAT TOOK THEM AWAY FROM THEIR VIVID PASTS

MIFF2010 With a range of films featuring the likes of Pierce Brosnan, Ewan McGregor, Adrian Grenier and so much more, as well as the wide variety of movies that cover many different genres, the MIFF caters to everyone’s liking, ensuring there is a film suitable for all. In fact this year MIFF has excelled with a selection of over 330 films, presenting cinematography from all corners of the globe.

IT JUST OPENS PEOPLE’S EYES

TO DOING DIFFERENT ASPECTS OF FILMS RATHER THAN JUST FOCUSING ON THE DIRECTING However, outside of all the excitement surrounding the range of films available for viewing this winter, staff at the MIFF, as well as Director Richard Moore, take great pride in the potential this event has in opening doors to other creative minds, as well as motivating all individuals alike to remain passionate about the goals they set themselves to achieve. They do this through screening inspirational pieces, as well as holding competitions between film makers to gain insight into the industry. One such competition is the Shorts event, held over one weekend, that “has a lot of film makers present; internationals, inter staters and locals”.

The movie making skills of the contestants are judged by a panel, rewarding those deemed the most creative with an award.

Another big program is Accelerators, which Michelle describes as “an intense four day workshop hothouse environment for emerging film makers, where they can meet industry and festival guests, where we wine and dine them, and schmooze them and introduce them to people. It’s sort of to help fast track them in their career towards future film making”.

The Aesthetics Now team wholeheartedly supports professionals giving individuals the opportunity to excel through running workshops and programs – and in an industry as competitive as film, where you need to climb up the ladder of success to become a renown film maker, we love that the MIFF has taken on the important role of helping these individuals get there. In particular, we have a passion for aspiring film makers, as we understand the lengths taken by not only the director, but also the team to gain appreciation and respect for the effort put in. “Film as opposed to a written book or a piece of visual art had many people behind it. MIFF makes a big effort to try and involve the film makers by having some representation there to speak directly to the audience”. They also believe that individuals can learn to appreciate film as an art, and the teams involved as artists, by “being exposed to different types of films that can make them aware to the different ways that you can do things through cinematography or editing. I think it just opens people’s eyes to doing different aspects of films rather than just focusing on the directing”.

If you are still not convinced of the importance this festival plays in embracing film as a piece of art then we encourage you to watch one (or more) of the trailers on their website, www.melbournefilmfestival.com.au . Michelle, who has viewed numerous films with the members of the programming team, has recommended Trash Humpers as an inspirational piece, remarking on the nature of the film and the emotions it conjures as it challenges you to reflect on elements important to art. “I find Trash Humpers really inspiring because it looks pretty cheap; it’s pretty weird, but it just shows what people can make with not much money. It celebrates weirdness and I really like that and I think festivals should do that as festival

should stand in opposition to this idea of normality. I think that it’s shoved down our throats so much in society and I don’t know if you’ve noticed but the films that do so well are the ones where people come out and say that was the weirdest thing, you have got to go see it”.

“NO MATTER WHAT FILM SOMEONE WORKS IN CREATIVELY TO JUST

CELEBRATE YOUR UNIQUENESS”

With the festival right around the corner, Michelle leaves us with a piece of advice for aspiring film makers, quick to get back to her demanding schedule in the lead up to MIFF’s launch. “I recommend that no matter what film someone works in creatively to just celebrate your uniqueness and go down that path, and don’t be afraid to be unusual or confronting. It’s important to get up there and meet people, but also know very much your work and the context in which it sets and don’t set yourself unrealistic expectations because being a creative person is really hard, our society doesn’t always support that and people can be really discouraging, so just set yourself realistic goals”.

For those unable to make this year’s annual Melbourne International Film Festival we recommend that you visit their website to get your fix of what this event has to offer. For those who are attending MIFF we ask that you wear comfortable clothes. Be forewarned – the addictive nature of this festival will have you wanting to see more than one film.

Here’s a sneak peak at a sample of the films set to grace the screens over this 17 day show. Four things we can safely guarantee are: you will get enjoy it, you will want more, you will definitely be inspired, and you will definitely understand and appreciate the importance of this event in further developing Australia’s film culture and fuelling young creative minds.

MIFF2010

AROUND THE SMALL MOUNTAIN DIRECTOR: JACQUES RIVETTE WRITERS: PASCAL BONITZER CHRISTINE LAURENT Jane Birkin stars in the story of a broken woman. After previously being in the circus she makes the ultimate decision to run away and rejoin it in an effort to make sense of her unsettled life. Lean back in your chair as you are invited to accompany her through the transition from her current lifestyle, discovering the reasons for wanting change, and meeting

the stranger who arrives to help her make major decisions.

Jacques Rivette’s newest film Around The Small Mountain is not one to disappoint. With expectations set to soar as it hits the

screens, be sure to set your hungry eyes on the film that is set to touch the minds of all art and film lovers alike.

BOY

DIRECTOR: TAIKA WAITITI WRITER: TAIKA WAITITI We all love local films; they breed culture, they show a sense of appreciation for ones land, and there is always that something that makes you want to jump through the screen and experience another country with outside of the eyes that stare at the box.

New Zealand has just landed itself its highest grossing film in decades and we are pleased with the achievement. Taika Waititi pens an excellent comedy address a number of different issues that revolve around life; covering topics from family to Michael Jackson

MIFF2010

GHOST WRITER DIRECTOR: JACQUES RIVETTE WRITERS: PASCAL BONITZER CHRISTINE LAURENT With a line up of actors including Pierce Brosnan, Kim Cattrall and Ewan McGregor, we already want to make an imprint in the cinema seats to watch this film before even needing to question what it’s actually about. Yet it only gets better; Ghost Writer is a visual masterpiece directed by the one and only Roman Polanski A long awaited thriller based on politics, Polanski delves into the days of Chinatown and Rosemary’s Baby “where nothing is as it seems and no one should be trusted”.

WALKING SLEEPING BEAUTY DIRECTOR: DON HAHN WRITER: PATRICK PACHECO

With a line up of actors including Pierce Brosnan, Kim Cattrall and Ewan McGregor, we already want to make an imprint in the cinema seats to watch this film before even needing to question what it’s actually about. Yet it only gets better; Ghost Writer is a visual masterpiece directed by the one and only Roman Polanski A long awaited thriller based on politics, Polanski delves into the days of Chinatown and Rosemary’s Baby “where nothing is as it seems and no one should be trusted”.

MIFF2010

WHEN YOU’RE STRANGE DIRECTOR: TOM DICILLO WRITER: TOM DICILLO The band The Doors will be seen in a different light after you watch this film. Director Tom DiCillo, with the help of never before seen footage supplied directly from the band, takes you on a journey based on how the band played an important role for the zeitgeist of the 1960’s ‘in what’s been called “the anti-Oliver Stone film”.

The film is narrated by Johnny Depp, the actor who has left an indelible mark within films for the last decade, and is must see during the last of these winter months.