PRJKTR Issue 003 by PRJKTR

003 A R T S / C U LT U R E / D I S C O U R S E

Spring 2015 $0.00

WORDS

PIC T U R E S

PEOPLE

Yasmin Mobayad / Bonnie Sanders / Oscar Ronan.

Candy Brat / Wolfkid 666 / Jack Jeasche / Alexandra Bell.

Courtney Ward / KUBU Studio / Marlo Eggplant / Eamon Donnoley.

003.

4 On the Cover:

Credits: Content: Stacey Williams

The unexplained. It’s often associated with ghosts, the paranormal, UFOs and the supernatural. But as we discovered in creating this issue, the unexplained goes beyond that. It surrounds us. From the way someone reacts in a way that was unanticipated to the reasons some people see Jesus imprinted on their toast; it is everywhere and there is no escape. Questions will always be asked and there may not always be answers, but that’s part of life and it’s how we grow as individuals and communities: by asking questions. This issue has a plethora of pieces that question things, from the phenomenon of twins to the concept of déjà vu. We’ve interviewed Noise artists, to local community arts tribe, KUBU Studio, and collected a series of thoughtprovoking images, art and graphics along the way. You might also notice some format changes and new faces on the team, so we hope you enjoy this new issue as much as we loved putting it together. It asks a lot of questions that may not have answers yet, but that’s half the fun. And remember: the Truth is out there.

0402 678 670

Printing: Spotpress Printing, Sydney.

stacey@prjktr.com.au

Project Management: Soraya Mobayad Photo by Daniel Longo.

Typefaces: Univers Adrian Frutiger (R.I.P.)

soraya@prjktr.com.au

Linotype

Content: Yasmin Mobayad

Sectra

Photography: Daniel Longo

Noël Leu

daniel@prjktr.com.au

Harbour

From Courtney Ward Interview, Pg. 20–23

@PRJKTR_

/prjktrmag

Contributors: Tyler Medley, Bonnie Sanders, Yasmin Mobayad, Soraya Mobayad, Oscar Ronan, Josh Bushby, Candy Richens, Jack Jeaschke, Alexandra Bell, Craig Atkins, Emma Bottomley, Ben Neoh, Courtney Ward, Daniel Longo, Marlo Eggplant, and Eamon Donnoley

WWW.PRJKTR.COM

Art Direction: Riley McDonald riley@prjktr.com.au

Advertising: Amanda Sherring 5229 7969 amanda@fortemag.com.au

Mark Kappeler Dominic Huber Grilli Type

Gareth Hague Alias

Printing supported by: City of Greater Geelong.

Contents.

In this Issue: 06–07

Square Eyes. Why do we play video games? Mostly it is for the same reasons as to why we read books, go to the movies and watch videos of cute animals – for a distraction and for entertainment. The medium of video games once used to be simple and really only served a single purpose. In today’s society however, a lot of people argue that games are now an art form, pushing the envelope in terms of storytelling, narrative and audio-visual spectacle. Some games present us with worlds and universes complete with their own mythos and backstory, hoping to draw us within. The following ten games are just an example of the creative energy and imagination that exist in the brains of video game developers and designers all over the world. 1. Thomas Was Alone This is a puzzle-platformer game created by British independent developer Mike Bithell. The plot of the game follows several artificial-intelligence entities as they fall out of control within a computer mainframe. These ‘entities’ have names, which include the eponymous Thomas, and are represented by coloured blocks. The design and storytelling is in a minimalist style, with simple voiced narration giving us the bulk of information, while the goal of the game is to solve the puzzles by making the characters work together using their blocky shapes. 2. Minecraft If you haven’t heard of this, you’ve probably been living under a rock. The wildly popular buildingblock game looks like what a Lego daydream might. The goal is to literally build your own constructions, gather resources and defend your creations in a procedurally generated world. The game’s appeal stems from the fact that it aesthetically looks ten years old. As they say, old is new again. 3. The Unfinished Swan The Unfinished Swan is a unique and stylish game that has you chasing a swan that has escaped a painting. The adventure starts in pure white space as you paint your way through the world to find the elusive creature. This is a beautiful and one-of-a-kind game that is quite unlike anything else you have seen before. 4. Ni No Kuni: Wrath of the White Witch A few of us here at PRJKTR love anime, and more specifically, the films made by Japan’s Studio Ghibli. Ni No Kuni should be treated as a playable Ghibli film and it is spectacular. It is bright, bold, colourful and childlike in its plot and setting that sees the young character Oliver experience a personal tragedy and is then sucked into another world full of magical creatures with an epic story typical of the legendary studio. 5. Journey A personal favourite of mine, Journey is an atmospheric experience that really redefines what is capable in the medium of video games. The player is tasked to taking control of an unnamed robed figure that must make the journey through a vast desert to a large, looming mountain the distance. There are no story hints or dialogue as to why you are doing this – you are simply meant to play and take in the breathtaking audio and visuals. The game’s scope makes you feel small and alone in this huge world, adding to feeling of wonder and awe. This game is one of the best examples of the notion of video games as art. 6. Limbo Limbo also features a nameless protagonist who has awoken in a forest and seeks his missing younger sister. The game is entirely monochromatic and uses film-grain, ambient sounds and lighting effects that are reminiscent of film-noir to create an interesting visual style. The game plays like a moving silhouette. The character must solve puzzles and traverse environments to continue on his way. Limbo is often noted for containing no story or pointers and it is therefore up to the player to work on their own to progress. 7. Shovel Knight Shovel Knight is, put simply, a love letter to the classic 2D games from your childhood. The Enchantress has risen to power and spreads her evil across the lands. She uses her group the ‘Order of No Quarter’ to maintain this fear. The Shovel Knight, armed with (you guessed it) a shovel to combat her forces. The game plays and looks like something straight

The Brain That Explains Itself. Essay. I have a distinct memory from my childhood of being sent out into the back garden, accompanied by my older sister, to pick some fresh sprigs of rosemary for the roast lamb our mother was preparing for special guests. Even now, I can recall the strong smell of the herb crushed in my chubby little fist and the woody texture of the twigs, the coarse leaves like tiny needles. In the dim glow of the veranda light, my father stood quietly smoking a cigarette as my sister and I toddled across the grass, his silhouette a comforting presence as the evening sky darkened. My mother’s palm pressed against the glass pane of the sliding door as she beckoned us back inside. This memory persists, even with the knowledge that my parents were no longer growing rosemary by the time I would be old enough to remember, and that my father quit smoking permanently almost immediately following my birth. My brain has pieced together this enduring fiction from photographs of the garden, retellings by my family, subsequent experiences and genuine memories of similar occasions. Most of us have experienced this, though many may not even be aware that a memory has been constructed, so vivid and clear are the details that we will insist upon its accuracy, even in the face of unassailable evidence to the contrary. It is quite amusing to think of my stubborn, petulant brain, refusing to acknowledge an absence in record, undertaking to instead fabricate a likely version of events to quietly inject into my consciousness. I wonder what other treasured childhood (or even more recent) memories my brain has conjured up for the sake of convenience? This filling in of the blanks is akin to stitching together the blind spots in vision to produce a seamless image of the world. I feel almost betrayed, but simultaneously impressed by the complexity of the processes taking place beneath the surface of my awareness. Similarly, many of us have had the unfortunate experience of a friend in an unhappy or failed relationship whose despairing brain seems only capable of clinging to memories of the more positive aspects of their significant other. Often, this will involve manipulating and distorting these memories to justify or excuse unacceptable behaviour. Surely, we think smugly in private, I am too clever, too vigilant to ever be fooled in such a manner. And yet, in a moment of dripping loneliness, heartbroken and desperate, we too fall victim to this memory blindness, dwelling instead on our recollection of every kind word and sweet gesture, any undesirable traits evaporating from our memory of a person. Suddenly our brains are expert contortionists, able to spin even the most absurd explanation as reasonably likely. We will pick and choose which aspects to discard until we are left with a pleasant, tolerable image, indistinguishable in our minds from reality, happily satisfied of the authenticity of the delusion. This process of the reconstruction of memories has be

Candy Brat. Feature Artist.

Unheimlich. Essay. It’s that unnerving feeling that sits deep in your gut, stewing and turning over. It crawls up your spine and wrestles with your mind, nestling in the space between fictional memories and unsettling realities. It’s that feeling of being there and doing that and seeing it already happen. It’s what makes you question everything in your day and second-guess yourself to the point of disruption. The uncanny is a mixture of the familiar and unfamiliar and it appears everywhere: TV, film, literature, everyday conversation. Many of you will automatically think of the word ‘uncanny’ in relation to the popular 90s Paul Jennings book by the same name, a gift to our generation that I’m sure will be cherished for years to come. But if we track its origins it comes from the German word, Unheimlich. Freud wrote about it, writers referenced it, scholars studied it, and the most common form is what is universally known as déjà vu. Déjà vu is rooted in the uncanny. It’s a fundamental disturbance of what we think and feel as human beings. It slowly destroys our sense of reality and makes us question our actions, words and interactions. It’s that sense of strangeness and mystery; that something that hasn’t happened yet is about to happen again. There are so many takes on this unexplained phenomenon. If we look at Freud’s writings, he hypothesises that the familiarity mingled with the strangeness stems from something that as a child we may have experienced and repressed due to the nature of the subject. At this point, the individual is confronted with the same or similar scenario, the repressed memory resurfaces and thus presents the individual with the feeling of the uncanny. As any well-read person would know, Freud doted on his repressed-memory theories and childhood traumas, often using them as a crutch to frame his arguments and explain the unexplainable. But in researching déjà vu and the uncanny I stumbled across some articles and research that raised a whole set of new questions. In studies dating back to the early 1980s, déjà vu has been linked to epilepsy. The general consensus amongst many of the studies was that while a majority of the general population experienced déjà vu at one point or another in their life, epileptics were experiencing a different kind of déjà vu that was often recorded as being prolonged with the occurrence of fatigue, hallucinations, headaches, abdominal sensations and general fear. Epileptic déjà vu occurs with what is known as an ‘aura of the temporal lobe’ (Warren-Gash and Zeman, 2012). And while researchers are trying to find the link between déjà vu and a logical explanation such as it being a symptom of epilepsy, many unanswered questions still remain. Other researchers have drawn connections between childhood febrile convulsions (fevers reaching such high temperatures that children seize and convulse) and déjà vu in adulthood. When I read that paper, I must admit I was slightly concerned; the amount of febrile convulsions and déjà vu episodes I’ve had are too many to recount. Other studies raise the possibility of time-delays between the communications of the brain hemispheres, then there are

26–27

All the Things I Thought

I Knew. Feature Artist. Currently, I am fascinated with the idea that we exist in many temporal states. When we sit in a space it is with us, against us and before us. We are always inhabiting antagonism whether we acknowledge it or not. The project I’ve been working on All the things I thought I knew is an attempt to systemise this state of existence. When I draw I not only etch lines, but exhale terms, categorize data and form systems – it could be seen as a cathartic experience but I see it more as a need, a mechanism, and a machine. What provokes me lies beyond definition, yet it is still something I hope to grapple with. It is something I wish to understand. I’m just obsessed with why we do what we do - it’s a kind of saying I held within me throughout the process of making the work. The work itself started as an attempt to create a continuous drawing – my original hope was for something at the twenty metre mark, but time constraints left me with about eight or so metres. I wanted it to be something that had its own life - that I hoped would flow softly into a gallery space – that had this transparency to it, that existed but didn’t… a shimmering presence… From this, it became as installation. I became obsessed with documenting my own process in order to understand why I do what I do and whether than is a motion that can even be defined. I filmed myself on the grainiest of Super 8 films and set up a system where I could accumulate everything I thought of as the work was produced; I realised these were the three levels my creativity existed in, drawing, documenting and writing. For me, these are not separate entities; even when I write a poem, I am constantly filling the margins with scribbles. I really like the idea that one thing cannot exist without the other. I see it as a convergence of potential meanings, or stimulating forces, which cannot become meaningful without the definition of the other. This is sort of how the artwork operates; without the ink blots there would be no terms and without the terms there would be no grid. It a work that cannot be perfectly explained, as it is a process, a suggestion, that something more than what lays in front of you exists.

Marlo Eggplant. Interview. How did you get into making noise? As a child, I was really fixated on the unintentional sounds of televisions and radios. I liked turning the big clunky knob to the stations that weren’t broadcasting. White noise with black and white streaks and specks. The inconsistencies of patterns in the hushing and shushing. At night, I would prefer turning on the AM stations because the search for sounds was actually audibly more enjoyable than turning directly to a clear channel of song. I kept this mentality in my collage and journal work. I was drawn to riot grrl, punk, lo-fi, electronic, and music projects that made my skin crawl. I was in punk bands and played folk nights. At the same time, I had been introduced to sound art and was beginning to merge that into my performance work as an undergraduate. When I found others who listened to noise, I realized that this was the sound place I had always gravitated towards. How long have you been making noise as Marlo Eggplant? I began making noise as Marlo Eggplant in 2003 in my hometown, Baltimore, Maryland. At the time, Timothy Wisniewski and I had begun two projects: the record label, Spleencoffin, and our deconstructed noise rock duo, Hazardous Guadalupe. Timothy and I both took on vegetable surnames. It was a way I could embrace both my love of domestic arts and improv lo-fi. I stuck with my monniker and continued to explore genres. Tell us a bit about the Ladyz in Noyz movement and how you came to form that group. Ladyz in Noyz was conceived during the first US Hazardous Guadalupe tours in 2003-4. During this tour, I became acutely aware of the lack of other women performing. As I carried my drum kit and equipment from state to state, I found the gender divide to be increasingly apparent and the attitudes of the male dominated scene to be disheartening at times. There were several other women musicians that I had met on tour such as Bonnie Mercer, Leah Peah (Head Molt), Heather (HNY, Social Junk), and Germaine Baca-Has (The Tissues, Old Time Relijun). I began discussions about being a woman making fringe musics. Although we all had held our own ground and had been making music extensively, there was something about the enjoyment of meeting another female on the road and talking about our experiences. From then on, I collected names and projects of women in experimental musics. I would search for them on bulletin boards, music forums, and Myspace. I found the compilation Women Take Back the Noise, curated by Ninah Pixie of Big City Orchestra, and was inspired. In 2007, I gathered the lists of musicians and asked them to contribute to a compilation of women in experimental musics that was released the following year. Some folks ask why I chose the spellings of “Ladyz in Noyz”.This was in order to encapsulate that self-naming as a woman can manifest in many ways and that these collections were a celebration of connection, not exclusion. Noyz was also used in the same spirit to delineate previous genre divisions in experimental music that may have made it difficult to meet other women. Ladyz in Noyz is about staying connected and being inclusive. These lists turned into several compilations. There have been a total of four compilations with women from almost every continent. The compilations turned into a collective where women often would assist others from other areas. It has become a network of supportive women (and their allies) making and doing musics. Ladyz in Noyz has also been lucky to have Ladyz in Noyz Australia, curated by Lara Soulio, which focuses on regional works with the same inclusive spirit. Festivals, such as Titwrench, Titwrench Stockholm, and Gatas y Vatas, around celebrating women in sound have exploded in the almost ten years of existence. We will be doing a documentary after we have completed the ten years and possibly and international festival. These projects are still in the planning stages.Do you study the theories behind noise and sound art? If so, what areas? Although I am familiar with the theories I do not study them intently. Most of my reading has been inspired by the work of Tara Rodgers and her ethnography on women in sound art/noise/electronica, “Pink Noises” (Duke University Press). I do study psychosocial studies and cultural studies. I am currently working on my dissertation on how postcolonial traumas are conveyed through cultural productions such as art, film, and performance.Can you remember your first noise performance? I actually can’t! That surprises me. I guess I just saw it as a national transition from performing more traditionally song structured music. I can tell you that once I started making noise, I felt the most connected to music I had ever been in my life. What is the greatest challenge of leading the Ladyz in Noyz movement? Essentialism and acrimony. I think the difficulty is that since it aims to be inclusive what is defined as female often comes up in discussions. We try to avoid such discussion because the utmost importance is participation and anything that would make folks less likely to make

Fashion is my main creative outlet. When I don’t have time to paint or draw, I can create an outfit instead. My body as my canvas, I can turn myself into a walking artwork. The individual pieces of clothing are artworks themselves but when placed altogether, they create a masterpiece. It is not about vanity, just pure creativity. Heavily inspired by Vivienne Westwood and David Bowie, every outfit is decided on how I feel on that particular day- keeping the spontaneity and authenticity of fashion alive. I am just a girl with an iPhone, but through my outfits I can be whoever I want to be.

18–19

KUBU Studio. Interview. So where does the name KUBU come from? It comes from the Indonesian word that means ‘tribe’. My grandmother used to say it to describe someone’s manner. She used to describe someone using that word ‘kubu’ as acting more as a native Indigenous person, more of a primal way of living. It’s seen as different in Jakarta because it’s become so hustle bustle and busy that its odd to see someone acting like that. But KUBU is in my blood. That primal adventurous thing, I can’t help it. What does KUBU mean in a modern sense? What does it mean in Geelong? To me, it means community. I missed what I had in Jakarta when I first moved here. I was young, I missed my family I had to make new friends. I couldn’t speak the language so I had to express myself in a different way and form a new tribe of people. It seems to me that KUBU has developed into this tribe where everyone knows everyone … It’s about that strong friendship. It also shows that we do care about each other and about what others are creating and doing. So when the opportunity for KUBU in little Malop street came about, it was awesome that we had space to nurture the Balinese culture. We took the upstairs space after a friend who ran the restaurant below it, secured it for us to work in. A friend of mine Fi, was a Balinese dancer so I asked her if she would want to come and do some performances at the restaurant downstairs and upstairs. At first she was shy and not sure if it would be accepted, but she also liked the challenge. A little bit of Bali in Geelong. It was like she didn’t know if her dance would be appreciated. Back home she wouldn’t have hesitated, so we wanted to give her a confidence boost and people loved it. It’s showing that yes ... we are different and from a different country, but this is our home and you don’t need to feel like an outsider. So we used the space for workshops and dances. Little events like that, but then came Shockface at the end of the lease! We had a great time, the skate ramp, art exhibition from some Indonesian artists and huge music. In the name of the new arts, we had this great success. When the skateboard went out the window we knew it was a good party. At the end of it we all said, ‘shit, we need a space to do this again.’ So I kept it in the back of my mind, always on the lookout for a space and now we have it! I got a lot of nurturance and guidance from the guys from the radio station (The Pulse) and of course the elders in my family, that I want to give that back. I want to give some opportunity to others to express and do some great stuff. Really give it a go, y’know? So do you feel nervous at all about this big new venture? In Little Malop street it was just Courtney and I doing stuff, but this time its different because we’ve got the squad. Before it was so hard doing it by ourselves but now its like we are ready for the next stage of our vision. The team is just so good, and we have so many different skills, and we all feel

An Illustrated Q&A. Jack Jeasche.

Prodigiosus Gemini. Interview. Currently, I am fascinated with the idea that we exist in many temporal states. When we sit in a space it is with us, against us and before us. We are always inhabiting antagonism whether we acknowledge it or not. The project I’ve been working on All the things I thought I knew is an attempt to systemise this state of existence. When I draw I not only etch lines, but exhale terms, categorize data and form systems – it could be seen as a cathartic experience but I see it more as a need, a mechanism, and a machine. What provokes me lies beyond definition, yet it is still something I hope to grapple with. It is something I wish to understand. I’m just obsessed with why we do what we do - it’s a kind of saying I held within me throughout the process of making the work. The work itself started as an attempt to create a continuous drawing – my original hope was for something at the twenty metre mark, but time constraints left me with about eight or so metres. I wanted it to be something that had its own life - that I hoped would flow softly into a gallery space – that had this transparency to it, that existed but didn’t… a shimmering presence… From this, it became as installation. I became obsessed with documenting my own process in order to understand why I do what I do and whether than is a motion that can even be defined. I filmed myself on the grainiest of Super 8 films and set up a system where I could accumulate everything I thought of as the work was produced; I realised these were the three levels my creativity existed in, drawing, documenting and writing. For me, these are not separate entities; even when I write a poem, I am constantly filling the margins with scribbles. I really like the idea that one thing cannot exist without the other. I see it as a convergence of potential meanings, or stimulating forces, which cannot become meaningful without the definition of the other. This is sort of how the artwork operates; without the ink blots there would be no terms and without the terms there would be no grid. It a work that cannot be perfectly explained, as it is a process, a suggestion, that something more than what lays in front of you exists. Alex finds it difficult to define exactly what she is. For the past few years she has jumped from course to course determined to run from

24–25

My name is Craig Atkins or better known as wolfkid666, I’m a 26 year old illustrator/ Artist and weekend dj/tinny ripper,who resides in Sydney, Australia- Heavily influenced by tattoo culture and an infatuation with Death itself- the two are combined in a tongue in cheek type of work. I’m a self taught artist and I work at a desk at the end of my bed- the things that keep me inspired and going are cigarettes, whiskey, pizza and my inhailer. I really want a dog but I can’t afford one- so if anyone wants to get me one for christmas or something then thats totally fine. Find me on instagram- @wolfkid666

12–13 08

Wolfkid 666. Feature Artist.

28–29

Eamon Donnoley. Interview. So tell us a little bit about your background, do you come from a creative family? I do, I think growing up in a creative family is important as it can nurture and encourage any creative talent. My father Mal is an illustrator and artist, he studied industrial design in the 70s and worked as a Art teacher while illustrating real estate houses for newspapers after work. He is also a musician and played guitar in 1970s pub rock band Redhouse (look them up on Youtube!) My mother Barb is also very creative, she is a self taught gardener and had her amazing garden featured in Home Beautiful in the 1970s. I always drew growing up, being an only child I had endless hours to draw cartoons of Fred Flintstone, Simpsons, ren & stimpy, Disney and Looney toons characters. I did caricatures of classmates and teachers and drew over every single school book. I was into Mad Magazine in a big way and it influenced my illustration style early on, particularly drawing people. I finished school and went on to study Graphic Design at RMIT, incorporating my drawing skills into most projects. After graduating I ended up in the fashion industry working for Elwood, then various other streetwear and surfwear brands in Melbourne. Then started freelancing as an illustrator, which had always been a dream. Finding out where my talents sat in the design industry in Australia early on helped me find success as an illustrator, it helped develop a style and also a commercial skillset with the business side of dealing with clients. What was it about illustration that caught your attention? Did you dabble in many medias? I always drew cartoons as a kid, then in my teenage years I matured towards Manga, Comics and MAD Magazine. Being in black & white, MAD was all about the line work and in particular caricatures of movie stars and personalities of the time, I used to source old 70s issues from Sunday markets. So I practiced my drawing skills towards these influences and also discovered illustration in magazines such as Rolling Stone. So moving away from cartooning as a kid towards more detailed illustration just happened naturally. I dabbled in many forms of media for my work, painting, colour pencil rendering, charcoal, pen until I settled on the traditional brush inking technique, once the digital colouring process evolved the work developed a distinctive style that is heavily influenced by American illustration but with a iconically Australian colour palette and cheekyness. How do you begin to make an illustration piece? Can you describe your process? I begin with sourcing lots of references or objects, people, clothing then begin the sketching process, first a loose rough then a detailed refined sketch, usually tight enough with no changes to go straight into the brush inking stage, all on paper. Then once the inking is finished I scan all of the illustrations and colour them in Photoshop. The hardest part is on paper by hand, the fun part is colouring on the Mac and seeing it all come to life. A typical piece can take days to complete.Seeing as you grew up in and around Geelong, did you feel like young artists were supported/encouraged enough when you were getting started? Having my Dad work as a high school art teacher and also running his own freelance illustration business after hours was very important as it exposed me to a lot of the arts industry in Geelong. Early on I used to help him with jobs when things got busy so it was a great stepping stone to becoming a freelancer in my early 20s. It seems that the digitization of illustration has provided artists with a brand new tool to play with... How important is technical skill with a pencil? How do you think the industry might change in 5 years? It amazes me to see illustrators today working solely on the screen using Wacom Cintiq tablet screens, even mimicking the pencil and brush ink look with custom brushes in Photoshop. I envy and admire them because working on paper in a traditional sense slows the process down greatly and there is no ‘control Z’ if you make a mistake with inking there is no turning back. However, to work 100% digital you still need to have traditional drawing skills and understand the basic principals of drawing to begin with. I think there will always be a need to be able to put pencil to paper which most illustrators working solely digital still have those traditional skills. Do you get any more satisfaction when making something digitally, contrasted to making a piece by screen-printing? I like both processes for different reasons. My digital colour illustrations look great on screen but sometimes the conversion from RGB to CMYK I loose that Pop and loud colour palette. With screen printing I can have more control over the colour with picking the Pantone for a 2,3 or 4 colour piece, which I always go bright with. Each medium has different results and you need to consider that when working on a piece. Most of the work you do is based on the idea of “Australiana” ... What drew you towards this kind of subject matter? I grew up in a period through the 1980s that was very colourful, summers, milk bars, bbqs, tv, fashion, it was all so loud and extroverted and being a kid of the 80s it was also the best time to grow up. So when the 90s came along, the teenage years, the recession, the grew cloudy decade, I was quite nostalgic for that fun childhood of the 80s. It became a passion and a hobby to look back at what was happening then and in the decade before. I started watching old Australian movies and TV, collected VHS tapes and archived the old 80s commercials, collected photography books on Australian life from

Courtney Ward. Interview.

20–23

So tell us how you got into floristry…In my long & tedious quest to break my family mould and become a badass, untrained artist, I began to realize that that honey pot was less achievable than the 14-year-old Courtney had imagined. 10 years of an unwavering belief that I was the next Vali Myers or Emily Carr, brought me to an understanding that maybe a path in Arts Admin was more suited to my natural talent. When deciding to return to university for the umpteenth time at the fresh ol’ age of 24 I knew another 3 years in hospo would killlll me—so my part time job was to be in a florist. Though, again I was fronted with the words ‘certificate’ ‘qualified’ ‘trained’ before I was to enter industry, I bit the bullet and enrolled in the full time Floristry tafe course understanding my curatorial dreams would have to wait another 10 months. Next minute, I fell in love with all things flora. Three years of living, breathing, learning, obsessing over every element and I still want to know more, and learn more. I just freakin’ love it. I love when it wakes me up in the middle of the night cause I’m ‘Sleep Arranging’ and have knocked my bed-side lamp over. I love it when a fire burns deep inside my gut when I hear the words:“I hate gerbras”. I just love every flower and every opportunity they create to make a stranger smile.You’ve dabbled in so many forms of creativity from illustration, painting, installation and now floristry. Has it felt like a natural progression for you? I’m very aware of my wavering commitment to finishing an artwork, I have more unfinished than finished pieces in my body of work. I would say my love for installation art was a natural progression, as it allowed for a different kind of creativity. I love the on-the-spot construction of a piece that demands audiences to engage. It’s the same in floristry. I create a piece in front of my audience in matter of 10 minutes or so and have the instant feedback. It’s like creating 10 or more different artworks in a day and having people tell you ‘That’s beautiful’ about each piece. When really, the flowers are beautiful in themselves, I don’t do too much. So it’s like Instant gratification about my work. Is there anything you find difficult about creative expression or finding your way as an artist? Only in the last couple of years have I found the ability to express honesty in my works. I think you float for a while trying to pin point exactly what you’re trying to convey, then your creative expression comes true to form. Being a person who retreats emotionally and a bit of a narcissist, my works began to tell stories of my life. The most difficult thing I find when you become your own muse, is the exhaustion that comes with constantly exploring and assessing your own experiences, and in turn how to communicate them aesthetically. Re-living that story from your past each day/night as you work on finishing the piece is pretty emotionally challenging. I don’t think I’ll ever have financial success as an artist, that’s why I’m a florist now, but I think I’m on my way to finding and

30–31

DIY. How to Perform your own Séance.

Advertisers and agents are advised that all advertising copy is their responsiblity under the trade practices act. Advertisements are published in good faith and on the understanding that the content is legitimate and lawful. Advertisers and / or agents submit advertisements at their own risk. The editor and creators hold no responsibility whatsoever for the content of the magazine in the case that it may offend. PRJKTR accepts no responsibility for errors or omissions. PRJKTR reserves the right to edit all articles and letters.

SQUARE EYES: 10 VIDEO GAMES WITH UNIQUE ART-STYLES.

THOMAS WAS ALONE. Mike Bithell, Curve Digital, Bossa Studios

MINECRAFT. Mojang

THE UNFINISHED SWAN. Giant Sparrow, SCE Santa Monica, Armature Studio.

NI NO KUNI: WRATH OF THE WHITE WITCH. Studio Ghibli, Level-5

Words: Tyler Medley

Why do we play video games? Mostly it is for the same reasons why we read books, go to the movies and watch videos of cute animals – for a distraction and for entertainment. The medium of video games once used to be simple and really only served a single purpose. In today’s society however, a lot of people argue that games are now an art form, pushing the envelope in terms of storytelling, narrative and audio-visual spectacle. Some games present us with worlds and universes complete with their own mythos and backstory, hoping to draw us within. The following ten games are an example of the creative energy and imagination that exist in the brains of video game developers and designers all over the world.

This is a puzzle-platformer game created by British independent developer Mike Bithell. The plot of the game follows several artificial-intelligence entities as they fall out of control within a computer mainframe. These ‘entities’ have names, which include the eponymous Thomas, and are represented by coloured blocks. The design and storytelling is minimalist style, with simple voiced narration giving us the bulk of information. The goal of the game is to solve the puzzles by making the characters work together using their blocky shapes.

If you haven’t heard of this, you’ve definitely been living under a rock. The wildly popular building-block game looks like a Lego daydream. The goal is to build your own constructions, gather resources and defend your creations in a procedurally generated world. The game’s appeal stems from the fact it aesthetically looks ten years old. As they say, old is new again.

The Unfinished Swan is a unique and stylish game that has you chasing a swan that has escaped a painting. The adventure starts in pure white space as you paint your way through the world to find the elusive creature. This is a beautiful and one-of-a-kind game that is quite unlike anything else you have seen before.

A few of us here at PRJKTR love anime, and more specifically, the films made by Japan’s Studio Ghibli. Ni No Kuni should be treated as a playable Ghibli film and it is spectacular. It is bright, bold, colourful and childlike. Ni No Kuni sees young Oliver experience a personal tragedy and is then sucked into another world full of magical creatures with an epic story typical of the legendary studio.

Square Eyes.

JOURNEY ThatGameCompany

LIMBO Playdead, Double Eleven

SHOVEL KNIGHT Yacht Club Games

CHILD OF LIGHT Ubisoft

TRANSISTOR Supergiant Games

Images: Riley McDonald

A personal favourite of mine, Journey is an atmospheric experience that really redefines what is capable in video games. The player must take control of an unnamed robed figure on a journey through a vast desert to a large, looming mountain in the distance. There are no story hints or dialogue as to why you are doing this – you are simply meant to play and take in the breathtaking audio and visuals. The game’s scope makes you feel small and alone in this huge world, adding to the feeling of wonder and awe. This game is one of the best examples of the notion of video games as art. Limbo also features a nameless protagonist who has awoken in a forest and seeks his missing younger sister. The game is entirely monochromatic and uses film-grain, ambient sounds and lighting effects — reminiscent of film-noir — to create an interesting visual style. The game plays like a moving silhouette. The character must solve puzzles and traverse environments to continue on his way. Limbo is often noted for containing no story or pointers and it is therefore up to the player to work on their own to progress. Shovel Knight is, put simply, a love letter to the classic 2D games from your childhood. The Enchantress has risen to power and spreads her evil across the lands. She uses her group the ‘Order of No Quarter’ to maintain this fear. The Shovel Knight is armed with (you guessed it) a shovel to combat her forces. The game plays and looks like something straight off the Super Nintendo and uses this nostalgia incredibly well. The world of Shovel Knight features a variety of levels with all kinds of environmental themes common in the fantasy genre, with fire, water, forest and earth-based stages all accounted for. Most of us would have grown up with fairy tales. We often conjure memories of bedside tales, warm blankets and peaceful sleeping when we talk about these tales. This game plays like one of those tales. Aurora, a young princess of Austria in the 1800’s, falls asleep one night and seemingly dies in her sleep. However, her mind is transported to a mythical land named Lemuria. Her adventures in this realm are reactive to the real world and vice-versa. This is a beautifully crafted game that plays like a watercolour painting in motion, and the dialogue and story exposition is all told in rhymes – a really nice touch. Set in the fictional, futuristic, high-tech city of Cloudbank, Transistor tells the story of a famous singer, Red. In Cloudbank, a robotic force named the Process is controlled by a shady group of the city’s administrators who call themselves the Camerata. Red is attacked and is shocked to discover that she has lost her voice, and also has been saved from death by a sword that can mysteriously talk. It is as weird as it sounds, but a visual delight – the style could be described as something between sci-fi and art deco in its aesthetic.

JOTUN Thunder Lotus Games

Norse mythology is something that is often explored in all mediums. In this game, Thora, a recently deceased Viking woman must impress the gods and prove herself so that she may enter Valhalla (the afterlife). The game is unique in that it is programmed with an old-school style of hand drawn frame-by-frame animation, making it look like a traditional cartoon of the 1990’s. It is a colourful and vibrant world and perfectly captures our ideas of the icy Nordic landscapes that we associate with this mythology.

Words.

ARTWORK

STACEY

WILLIAMS.

BONNIE

SANDERS.

THE BRAIN THAT EXPLAINS ITSELF. I have a distinct memory from my childhood of being sent out into the back garden, accompanied by my older sister, to pick some fresh sprigs of rosemary for the roast lamb our mother was preparing for special guests. Even now, I can recall the strong smell of the herb crushed in my chubby little fist and the woody texture of the twigs, the coarse leaves like tiny needles. In the dim glow of the veranda light, my father stood quietly smoking a cigarette as my sister and I toddled across the grass, his silhouette a comforting presence as the evening sky darkened. My mother’s palm pressed against the glass pane of the sliding door as she beckoned us back inside. This memory persists, even with the knowledge that my parents were no longer growing rosemary by the time I would be old enough to remember, and that my father quit smoking permanently almost immediately following my birth. My brain has pieced together this enduring fiction from photographs of the garden, retellings by my family, subsequent experiences and genuine memories of similar occasions. Most of us have experienced this, though many may not even be aware that a memory has been constructed, so vivid and clear are the details that we will insist upon its accuracy, even in the face of unassailable evidence to the contrary. It is quite amusing to think of my stubborn, petulant brain, refusing to acknowledge an absence in record, undertaking to instead fabricate a likely version of events to quietly inject into my consciousness. I wonder what other treasured childhood (or even more recent) memories my brain has conjured up for the sake of convenience? This filling in of the blanks is akin to stitching together the blind spots in vision to produce a seamless image of the world. I feel almost betrayed, but simultaneously impressed by the complexity of the processes taking place beneath the surface of my awareness. Similarly, many of us have had the unfortunate experience of a friend in an unhappy or failed relationship whose despairing brain seems only capable of clinging to memories of the more positive aspects of their significant other. Often, this will involve manipulating and distorting these memories to justify or excuse unacceptable behaviour. Surely, we think smugly in private, I am too clever, too vigilant to ever be fooled in such a manner.

And yet, in a moment of dripping loneliness, heartbroken and desperate, we too fall victim to this memory blindness, dwelling instead on our recollection of every kind word and sweet gesture, any undesirable traits evaporating from our memory of a person. Suddenly our brains are expert contortionists, able to spin even the most absurd explanation as reasonably likely. We will pick and choose which aspects to discard until we are left with a pleasant, tolerable image, indistinguishable in our minds from reality, happily satisfied of the authenticity of the delusion. This process of the reconstruction of memories has been seen to have devastating effects. One controversy relates to theories of repressed memories, the concept that in cases of extreme stress or trauma, associated memories can be stifled, never entering the consciousness of the affected individual. There are conflicting opinions on the existence of repressed memories, with some evidence indicating that memories of traumatic incidents may be forgotten and later spontaneously retrieved, however this is criticised by psychologists who argue that there is a lack of definitive proof. The use of recovered memory therapy in the last few decades has led to a string of criminal prosecutions where witnesses testified on the basis of memories of alleged abuse which had been ‘forgotten’ or repressed and subsequently ‘recovered.’ In many cases, these allegations were proven to be false, the strong, clear memories of the complainants found to be illusory and conjured up in the course of therapy where suggestion techniques had been used. This did much to diminish the credibility of memory repression, but provides a terrifying example of the extent to which our brains are capable of deception and how susceptible to alteration are the fundamental components of our personal identities. Again, I assure myself, I could never stand in a witness box and swear black and blue that an innocent party had committed some horrendous crime. In reality, I would. Just as I am convinced that my tiny fingers reached between the faded purple rosemary flowers to snap off a fragrant sprig, so too could I be capable of constructing a more sinister memory. This astounding capacity, to distort and to invent, is tucked neatly within the folds of the brain which millennia of scientists and philosophers have failed to explain, their only tool the very subject of their scrutiny.

Prodigiosus Gemini.

PRODIGIOSUS GEMINI.

Twins, on the other hand, are almost incomprehensible to me.

Zoe: Having a normal sibling you have differences that define yourself,

Various Google searches have revealed to me a world of mindboggling twin stories, from Terry and Linda Jamison, the 9/11 predicting Psychic Twins, to a multitude of Parent Trap-esque stories about long lost twin reunions. To get a better idea about the twin condition – that is, the essence of what it is like to be a twin – I got in touch with Amber and Zoe Chiovotti, a pair of identical twins local to Geelong.

A: They like different things and are essentially two different people whereas Zoe and I are pretty much the same. Do you think identical twins have a different experience to non-identical twins? Why do you think that might be? A: I think being identical creates a stronger connection to your other half compared to if you weren’t [identical]. You share the same looks

Z: All the time, Amber and I always know what each other is thinking or about to say before we have even taken a breath. In times of real pain we have had sympathy feelings, as small as getting bruises or… marks we both seem to get in the same area at the same time. E.g. I had fallen badly… and unfortunately torn the ligaments in my foot, Amber had witnessed this incident and had felt a minor form of pain, even after the accident.

BUSHBY.

It was an absolute pleasure to read about the girls’ experiences together. To be an identical twin certainly seems to be unique in a way that the rest of us can only imagine. As I finished scanning through their words, I was left feeling awed and not a little envious of the bond they share.

Do you know any other twins? Have you compared twin experiences? Was there anything noticeably similar/different? Z: Yes, I have friends who are identical twins. They have an ‘each to their own’ relationship…

JOSH

Cue X-Files music. The answers Amber and Zoe gave were frankly eerie - in the best way possible. Both girls began their answers with exactly the same phrase and then went on to refer to exactly the same event (although with some humorous differentiation).

A: We share everything together and create the same memories as well. There hasn’t really been a day where we have been apart.

Have you ever had a ‘psychic twin moment’? E.g. feeling each other’s pain, knowing what the other one is thinking, etc? A: All the time! Whenever Zoe gets hurt or vice-versa we always feel each other’s pain. It’s hard to explain but one time my sister tore all the ligaments in her ankle and the second it happened I got a really bad pain in my ankle as well. It’s the exact same with other injuries as well! We always know what each other is thinking even when we just look at each other or go “do you know what I’m thinking about?” … As well as the times when we say the exact same sentence at the same time.

In particular, the final question had an especially notable response. It is something I have to say I was a little nervous about asking; I didn’t know if talking to twins about whether or not they really had psychic twin powers might be misconstrued as pointing a freaky finger. Nevertheless, I went ahead with it.

Would you say that your twin is the closest person to you in the world? Z: Absolutely, (it’s cheesy)… Amber and I are inseparable, we have a special bond, there’s always something I have to share with her or experience with her and only her.

have to get used to.

ARTWORK

These brown-haired doppelgangers can only be described as mentally synchronised. The answers they gave to my questions bore striking likeness and the more I read, the more amazed I was that their responses were coming from two different people.

but being a twin; because you are experiencing things together, you’re sharing feelings and emotions together.

Z: [Non-identical] twins have their own identity, however for identical twins, associating yourself with the other is a common occurrence you

RONAN.

Specifically, I am talking about identical twins. Identical twins have taken a huge role through history, religion, art and science. To this day, they continue to prove enigmatic to experts in all these fields and it’s no wonder why.

and people always get you confused, so you really become two people, as you find yourself answering to your twin’s name anyway and associating yourself with their things as well.

OSCAR

How would you say having a twin is different than another sibling? Amber: Having a twin is like having another you. There is someone who shares the same interests as you, looks like you and is around you constantly.

As an only child, it has always been difficult for me to imagine life with siblings. From what I have seen, it is nothing less than a harrowing exchange of familial love. Friends have described to me brutal play-fights, cruel connivances and a world of mischief. Everything is shared; nothing is safe. And yet, in most cases, one comes out the other end with a loving bond unlike any other.

Words.

MOBAYAD.

The uncanny is a mixture of the familiar and unfamiliar and it appears everywhere: TV, film, literature, everyday conversation. Many of you will automatically think of the word ‘uncanny’ in relation to the popular 90s Paul Jennings book by the same name, a gift to our generation that I’m sure will be cherished for years to come. But if we track its origins it comes from the German word, Unheimlich. Freud wrote about it, writers referenced it, scholars studied it, and the most common form is what is universally known as déjà vu. Déjà vu is rooted in the uncanny. It’s a fundamental disturbance of what we think and feel as human beings. It slowly destroys our sense of reality and makes us question our actions, words and interactions. It’s that sense of strangeness and mystery; that something that hasn’t happened yet is about to happen again.

ARTWORK

SORAYA

MOBAYAD.

It’s that unnerving feeling that sits deep in your gut, stewing and turning over. It crawls up your spine and wrestles with your mind, nestling in the space between fictional memories and unsettling realities. It’s that feeling of being there and doing that and seeing it already happen. It’s what makes you question everything in your day and second-guess yourself to the point of disruption.

YASMIN

UNHEIMLICH.

There are so many takes on this unexplained phenomenon. If we look at Freud’s writings, he hypothesises that the familiarity mingled with the strangeness stems from something that as a child we may have experienced and repressed due to the nature of the subject. At this point, the individual is confronted with the same or similar scenario, the repressed memory resurfaces and thus presents the individual with the feeling of the uncanny. As any well-read person would know, Freud doted on his repressed-memory theories and childhood traumas, often using them as a crutch to frame his arguments and explain the unexplainable. But in researching déjà vu and the uncanny I stumbled across some articles and research that raised a whole set of new questions. In studies dating back to the early 1980s, déjà vu has been linked to epilepsy. The general consensus amongst many of the studies was that while a majority of the general population experienced déjà vu at one point or another in their life, epileptics were experiencing a different kind of déjà vu that was often recorded as being prolonged with the occurrence of fatigue, hallucinations, headaches, abdominal sensations and general fear. Epileptic déjà vu occurs

with what is known as an ‘aura of the temporal lobe’ (Warren-Gash and Zeman, 2012). And while researchers are trying to find the link between déjà vu and a logical explanation such as it being a symptom of epilepsy, many unanswered questions still remain. Other researchers have drawn connections between childhood febrile convulsions (fevers reaching such high temperatures that children seize and convulse) and déjà vu in adulthood. When I read that paper, I must admit I was slightly concerned; the amount of febrile convulsions and déjà vu episodes I’ve had are too many to recount. Other studies raise the possibility of time-delays between the communications of the brain hemispheres, then there are claims that if it is linked to epilepsy, almost 70% of the population would be suffering from smaller seizures (this is a highly speculative theory). In an attempt at a more ‘logical’ explanation one researcher claimed that consciousness and memory are not being activated quick enough to process new information. A rather simple example of the latter would be glancing across the street in preparation to cross and briefly seeing a shop display as you look over, not quite acknowledging what it is you are looking at. Upon crossing the road and looking into the window there is a sense of déjà vu as the brain has not previously turned this action of glancing, into memory or conscious thought yet. Hence the feeling of already seeing something that you would otherwise think impossible. But to me, this does not explain how when experiencing déjà vu it is not only the subject matter that seems familiar; it is also the angle you look at the subject from, the smells and feelings associated with that moment. Essentially, déjà vu still remains a mystery. It’s a phenomenon researchers have been trying to make sense of for decades and in spite of all the testing, there is still a huge question mark hanging overhead. We have all experienced it at some point or another, and maybe for some people there are logical explanations like seizures, auras and epilepsy. But for the rest of the general population, some things may always remain a mystery. Maybe it has to do with alternate realities, maybe it’s to do with lack of communication between the brain hemispheres or lack of sleep. Whatever the purpose or reason, the only thing we can say for sure is that déjà vu still remains an unexplained but fascinating phenomenon.

Feature Artist.

WOLF KID 666.

My name is Craig Atkins, or better known as wolfkid666. I’m a 26-year-old illustrator / artist and weekend DJ / tinny ripper, who resides in Sydney, Australia. I’m heavily influenced by tattoo culture and have an infatuation with Death itself—the two are combined in a tongue-in-cheek type of work. I’m a self taught artist and I work at a desk at the end of my bed- the things that keep me inspired and going are cigarettes, whiskey, pizza and my inhaler. I really want a dog but I can’t afford one—so if anyone wants to get me one for christmas or something then that’s totally fine.

Find me on instagram: @ W OLFKID666

With Jack Jeaschke

fashion alive. I am just a girl with an iPhone, but through my outfits I can be whoever I want to be.Â

outfit is decided on how I feel on that particular day- keeping the spontaneity and authenticity of

about vanity, just pure creativity. Heavily inspired by Vivienne Westwood and David Bowie, every

clothing are artworks themselves but when placed altogether, they create a masterpiece. It is not

instead. My body as my canvas, I can turn myself into a walking artwork. The individual pieces of

Fashion is my main creative outlet. When I donâ&#x20AC;&#x2122;t have time to paint or draw, I can create an outfit

C A N DY R I C H E N S A K A . C A N DY B R AT: B E D R O O M A R T I S T.

THE BEDROOM ARTIST

Feature Artist.

@ C A N D Y_ B R A T

Find me on instagram:

The Bedroom Artist.

Jack Jeaschke.

Feature Artist.

All the things I thought I Knew. Alexandra Bell.

All the Things I Thought I Knew.

Currently, I am fascinated with the idea that we exist in many temporal states. When we sit in a space it is with us, against us and before us. We are always inhabiting antagonism whether we acknowledge it or not.

The project I’ve been working on ‘All the things I thought I knew’ is an attempt to systemise this state of existence. When I draw I not only etch lines, but exhale terms, categorize data and form systems – it could be seen as a cathartic experience but I see it more as a need, a mechanism, and a machine. What provokes me lies beyond definition, yet it is still something I hope to grapple with. It is something I wish to understand. I’m just obsessed with why we do what we do - it’s a kind of saying I held within me throughout the process of making the work. The work itself started as an attempt to create a continuous drawL E F T:

'Contour'

Ink on Japanese paper.

ing – my original hope was for something at the twenty metre mark, but time constraints left me with about eight or so metres. I wanted it to be something that had its own life - that I hoped would flow softly into a gallery space – that had this transparency to it, that existed but didn’t… a shimmering presence… From this, it became an installation. I became obsessed with

R I G H T:

‘Twist’

Ink on Japanese paper.

documenting my own process in order to understand why I do what I do and whether that is a motion that can even be defined. I filmed myself on the grainiest of Super 8 films and set up a system where I could accumulate everything I thought of as the work was produced; I realised these were the three levels my creativity existed in, drawing, documenting and writing. For me, these are not separate entities; even when I write a poem, I am constantly filling the margins with scribbles. I really like the idea that one thing cannot exist without the other. I see it as a convergence of potential meanings, or stimulating forces, which cannot become meaningful without the definition of the other. This is sort of how the artwork operates; without the ink blots there would be no terms and without the terms there would be no grid. It is a work that cannot be perfectly explained, as it is a process, a suggestion, that something more than what lays in front of you exists.

May

Alex finds it difficult to define exactly what she is. For the past few we

years she has jumped from course to course determined to run from a standard social definition. She can however admit that she

always

shine

taught

few

and

broken

and

old

the

lovers

tarnished

is an artist. She dabbles in many different mediums, but always

comes back to drawing – in fact, she usually draws every day. She also writes and was recently a deputy editor of Inflection Journal.

ART

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MUCHA

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Interview. Words: Stacey Williams.

Courtney Ward.

Photo: Daniel Longo.

THE WALL FLOWER: COURTNEY WARD. To work in the creative industry youâ&#x20AC;&#x2122;ve got to have balls. Big balls. When we first met Courtney, we could tell she had the G&D* to tackle the art world head on, and that she could do it with her tools in one hand and a bottle of wine in the other. She has developed a strong brand of wild feminine opulence, expressed through many artistic mediums. Combining her passion for arts administration and her creative floristry, the unveiling of her

*Guts and Determination

latest project, The Jungle Room, is her next ballsy adventure. Âť

Interview.

Words: Stacey Williams.

Where do you look for inspiration? †† Mother nature.

So tell us how you got into floristry… In my long & tedious quest to break my family mould and become a badass, untrained artist, I began to realise that that honey pot was less achievable than the 14-year-old Courtney had imagined. 10 years of an unwavering belief that I was the next Vali Myers or Emily Carr, brought me to an understanding that maybe a path in arts admin was more suited to my natural talent. When deciding to return to university for the umpteenth time at the fresh ol’ age of 24 I knew another 3 years in hospo would killlll me. So my part time job was to be in a florist. Though, again I was fronted with the words ‘certificate’, ‘qualified’ and ‘trained’ before I was to enter the industry. I bit the bullet and enrolled in the full time floristry tafe course—understanding my curatorial dreams would have to wait another 10 months. Next minute, I fell in love with all things flora. Three years of living, breathing, learning, obsessing over every element and I still want to know more, and learn more. I just freakin’ love it. I love when it wakes me up in the middle of the night because I’m ‘sleep arranging’ and have knocked my bedside lamp over. I love it when a fire burns deep inside my gut when I hear the words:“I hate Gerberas”. I just love every flower and every opportunity they create to make a stranger smile.

You’ve dabbled in so many forms of creativity from illustration, painting, installation and now floristry. Has it felt like a natural progression for you? I’m very aware of my wavering commitment to finishing an artwork. I have more unfinished than finished pieces in my body of work. I would say my love for installation art was a natural progression, as it allowed for a different kind of creativity. I love the on-the-spot construction of a piece that demands audiences to engage. It’s the same in floristry. I create a piece in front of my audience in a matter of 10 minutes or so and have the instant feedback. It’s like creating 10 or more different artworks in a day and having people tell you, ‘That’s beautiful’ about each piece. When really, the flowers are beautiful in themselves. I don’t do too much. So it’s like instant gratification about my work.

To date, what has been your career highlight? My 2014 exhibitions: ‘This is me’ & ‘Blue Skies, Jaded Ladies’. This was a transitional time for me as I was learning a lot about myself and what I produced was my most honest collection of works to date. It was the first time I stood back and was truly proud of what I had created. I learned how to convey personal messages without being nervous of how they were to be criticised. It was some empowering shit.

†† My life, past & present.

Is there anything you find difficult about creative expression or finding your way as an artist? Only in the last couple of years have I found the ability to express honesty in my works. I think you float for a while trying to pin point exactly what you’re trying to convey, then your creative expression comes true to form. Being a person who retreats emotionally and is a bit of a narcissist, my works began to tell stories of my life. The most difficult thing I find when you become your own muse, is the exhaustion that comes with constantly exploring and assessing your own experiences, and in turn how to communicate them aesthetically. Re-living that story from your past each day / night as you work on finishing the piece is pretty emotionally challenging. I don’t think I’ll ever have financial success as an artist, that’s why I’m a florist now, but I think I’m on my way to finding and establishing how my artistic expression benefits my life in other ways.

†† And just stalking other artists, past & present.

Courtney Ward.

Photo: Daniel Longo.

You’ve had so many big projects that you ran yourself, what have you learnt from running these spaces? I’d like to say organisation and how to work in a team, but that’s a lie. I’ve learnt that I have communication issues and I swear a lot. But I’ve also learnt that I just love creating spaces that can connect an audience to a surreal state. Encouraging people to challenge conventionality and enjoy something a bit different. Is it scary taking a leap of faith, going out on your own and just going for it? Of course! But where’s the fun in being safe? I don’t think I’m capable of doing life the normal way, I’ve become too accustomed to my way.

“I learned how to convey personal messages without being nervous of how they were to be criticised. It was some empowering shit.” How did you develop your signature style? Can you describe it in a single sentence? I think it’s developed from a constant obsession with trying to show audiences how I see the world. Communicating what’s beautiful to me, and hoping people can see it too. From flowers to digital collage, it’s all the same. Dismissing conventions and embracing the artistry.

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Interview.

Words: Stacey Williams.

KUBU STUDIO

KUBU Studio is Geelong’s newest arts hub. Specialising in community engagement and the promotion of arts and cultural development, the studio offers a space for all people from all walks of life to come and participate in their local arts scene. Providing individuals and groups with a platform to get a step ahead in their artistic careers, KUBU Studio extends to not only the Geelong community, but also internationally with current partnerships developed with Indonesia. KUBU Studio is open to the public, and holds a variety of arts projects, events and workshops, film nights, and networking events. KUBU Studio is available for hire and is open for applications for event, program and project ideas from members of the public. Being open to the public allows KUBU Studio the reach beyond its traditional networks. KUBU Studio is an organisation that promotes inclusion and creates awareness, understanding and acceptance via the arts. KUBU Studio is a space that will generate mutual benefits to participating artists and the community, resulting in improved social cohesion. KUBU Studio looks forward to being the new go-to arts hub where everyone is welcomed and encouraged to push their artistic boundaries, make new friends and connections, and engage in an appreciation for the diversity every community has to offer. Recently launching, KUBU Studio experienced the support of over 250 local community supporters, and featured performances from Alice Ivy and The Living Eyes. We spoke with Emma Bottomley, Founding Director of KUBU, to get more of an idea of where the idea for the studio all started...

So where does the name KUBU come from? It comes from the Indonesian word that means ‘tribe’. My grandmother used to say it to describe someone’s manner. She used to describe someone using that word ‘kubu’ as acting more as a native Indigenous person, more of a primal way of living. It’s seen as different in Jakarta because it’s become so hustle bustle and busy that its odd to see someone acting like that. But KUBU is in my blood. That primal adventurous thing, I can’t help it. What does KUBU mean in a modern sense? What does it mean in Geelong? To me, it means community. I missed what I had in Jakarta when I first moved here. I was young, I missed my family, and I had to make new friends. I couldn’t speak the language so I had to express myself in a different way and form a new tribe of people.

It seems to me that KUBU has developed into this tribe where everyone knows everyone … It’s about that strong friendship. It also shows that we do care about each other and about what others are creating and doing. So when the opportunity for KUBU in Little Malop street came about, it was awesome that we had space to nurture the Balinese culture. We took the upstairs space after a friend who ran the restaurant below it, secured it for us to work in. A friend of mine, Fi, was a Balinese dancer so I asked her if she would want to come and do some performances at the restaurant downstairs and upstairs. At first she was shy and not sure if it would be accepted, but she also liked the challenge. A little bit of Bali in Geelong. It was like she didn’t know if her dance would be appreciated. Back home she wouldn’t have hesitated, so we wanted to give her a confidence boost and people loved it. It’s showing that yes... We are different, and from a

different country, but this is our home and you don’t need to feel like an outsider. So we used the space for workshops and dances. Little events like that, but then came Shockface at the end of the lease! We had a great time, the skate ramp, art exhibition from some Indonesian artists and huge music. In the name of the new arts, we had this great success. When the skateboard went out the window we knew it was a good party. At the end of it we all said, ‘Shit, we need a space to do this again.’ So I kept it in the back of my mind, always on the lookout for a space and now we have it! I got a lot of guidance from the guys from the radio station (The Pulse) and of course the elders in my family, that I want to give that back. I want to give some opportunity to others to express and do some great stuff. Really give it a go, y’know?

KUBU Studio.

Photos: Ben Neoh.

U Undertones

So do you feel nervous at all about this big new venture? In Little Malop street it was just Courtney and I doing stuff, but this time its different because we’ve got the squad. Before it was so hard doing it by ourselves but now it’ s like we are ready for the next stage of our vision. The team is just so good, and we have so many different skills, and we all feel comfortable. But we are all working full time and/ or studying, so it’s about juggling. That’s a part of the challenge. It will test us as a team. If we can come out of this first year, we will have the strongest foundations to grow from.

This project will define tolerance and understanding as something precious that needs continual work to maintain. Our strength in recognizing each other’s contribution to the project and to the community will be evident in all outcomes of the project. By bringing together a vast range of people from a diverse set of backgrounds and guided by four identified topics for facilitated discussion, the community connections that have the potential to be formed are truly amazing.

W W W.K U B U S T U D I O.C O M

“I want to give some opportunity to others to express and do some great stuff.”

Undertones will explore the complexities of issues facing young adults in contemporary Australia. Throughout November and December, we will hold four panel Q&A sessions exploring contemporary issues facing youth and young adults. Issues have been identified as: Diversity; Expression; Individuality and Community; and Religion and Tolerance. Panelists will be a mix of young leaders and experts in their respective fields, and we invite the public to attend and participate in each panel event through the submission of questions and attendance in the audience. Selected artists will be assigned one issue each, and will be required to attend the relevant panel discussion to inform their works. In December, we will invite artists and interested members of the community to workshop the findings from the panel discussions. In late-January 2016, a public exhibition of all works will be open for two weeks. Through Undertones, we aim to breathe life back in to the Geelong community and its culture to generate a greater sense of shared values and purpose through collaborative exploration and artistic expression.

Interview.

Words: Soraya Mobayad.

MARLO

EGGPLANT How did you get into making noise? As a child, I was really fixated on the unintentional sounds of televisions and radios. I liked turning the big clunky knob to the stations that weren’t broadcasting. White noise with black and white streaks and specks. The inconsistencies of patterns in the hushing and shushing. At night, I would prefer turning on the AM stations because the search for sounds was actually audibly more enjoyable than turning directly to a clear channel of song. I kept this mentality in my collage and journal work. I was drawn to riot grrl, punk, lo-fi, electronic, and music projects that made my skin crawl. I was in punk bands and played folk nights. At the same time, I had been introduced to sound art and was beginning to merge that into my performance work as an undergraduate. When I found others who listened to noise, I realized that this was the sound place I had always gravitated towards.

How long have you been making noise as Marlo Eggplant? I began making noise as Marlo Eggplant in 2003 in my hometown, Baltimore, Maryland. At the time, Timothy Wisniewski and I had begun two projects: the record label, Spleencoffin, and our deconstructed noise rock duo, Hazardous Guadalupe.Timothy and I both took on vegetable surnames. It was a way I could embrace both my love of domestic arts and improv lo-fi. I stuck with my monniker and continued to explore genres.

Noise music and performance is not commonly talked about in mainstream circles, but finds much recognition in contemporary and conceptual art spaces. For the uninitiated, it is a form of music that utilises noise as a resource for sound. To create music and soundscapes, Noise is generated with non-traditional and profaned items—generally feedback, circuit bent instruments, electronics or static are used, but there are no limits or boundaries. Noise can be rhythmic and utterly beautiful, but at its extremes can push the listener physically and mentally to exceedingly uncomfortable places. Interestingly, these intense and physically challenging sonic experiences can be juxtaposed with the gentle and quiet hum of static. Here, we introduce Marlo Eggplant, leader of the Ladyz in Noyz movement. We found Marlo at a pub in North Melbourne, touring across Australia with some incredible female noise artists. We sat and listened as a baby monitor and a clarinet reverberating into a biscuit tin were used to create a feedback bath over the audience. The Ladyz in Noyz performance really got under our skin, so we got in touch with Marlo Eggplant to talk about her sonic history and the ideas behind the Noyz movement.

Tell us a bit about the Ladyz in Noyz movement and how you came to form that group. Ladyz in Noyz was conceived during the first US Hazardous Guadalupe tours in 2003-4. During this tour, I became acutely aware of the lack of other women performing. As I carried my drum kit and equipment from state to state, I found the gender divide to be increasingly apparent and the attitudes of the male dominated scene to be disheartening at times. There were several other women musicians that I had met on tour such as Bonnie Mercer, Leah Peah (Head Molt), Heather (HNY, Social Junk), and Germaine Baca-Has (The Tissues, Old Time Relijun). I began discussions about being a woman making fringe musics. Although we all had held our own ground and had been making music extensively, there was something about the enjoyment of meeting another female on the road and talking about our experiences. Some folks ask why I chose the spellings of “Ladyz in Noyz”. This was in order to encapsulate that self-naming as a woman can manifest in many ways and that these collections were a celebration of connection, not exclusion. Noyz was also used in the same spirit to delineate previous genre divisions in experimental music that may have made it difficult to meet other women. Ladyz in Noyz is about staying connected and being inclusive. These lists turned into several compilations. There have been a total of four compilations with women from almost every continent. The compilations turned into a collective where women often would assist others from other areas. It has become a network of supportive women (and their allies) making and doing musics. Ladyz in Noyz has also been lucky to have Ladyz in Noyz Australia, curated by Lara Soulio, which focuses on regional works with the same inclusive spirit. Festivals, such as Titwrench, Titwrench Stockholm, and Gatas y Vatas, around celebrating women in sound have exploded in the almost ten years of existence. We will be doing a documentary after we have completed the ten years and possibly and international festival. These projects are still in the planning stages.

“At night, I would prefer turning on the AM stations because the search for sounds was actually audibly more enjoyable than turning directly to a clear channel of song.”

FIR S T

“ S H E’S

B O U G H T:

LAUPER

YOU

C Y N DI

ALBUM

CASSETTE

WAS

THE

U N U S U A L”

45 AND

V E N U E:

“S O M E D AY”

PERFORMANCE

SUPREMES

BEST

T H R E E P E O P L E L I V I N G O R D E A D W H O W O U L D I N V I T E T O A D I N N E R P A R T Y: Y O K O O N O, N I N A H S I M O N E,

LENGTH

S U M A C.

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The must-haves/necessities of noise gear? Honestly, I think gear-wise, there are no necessities. I have seen great things done with a folding table on concrete and massive stacks of synths. Just something that makes you create freely.

AND

What is the greatest challenge of leading the Ladyz in Noyz movement? Essentialism and acrimony. I think the difficulty is that since it aims to be inclusive what is defined as female often comes up in discussions. We try to avoid such discussion because the utmost importance is participation and anything that would make folks less likely to make music is completely contrary to our goals. Also it is very difficult to keep racial / ethnic / queer diversity on the foreground. We keep at it though, knowing it is a struggle to find access to those who may feel less welcomed.

“...I found the gender divide to be increasingly apparent and the attitudes of the male dominated scene to be disheartening at times.”

FIR S T

Do you study the theories behind noise and sound art? If so, what areas? Although I am familiar with the theories I do not study them intently. Most of my reading has been inspired by the work of Tara Rodgers and her ethnography on women in sound art / noise / electronica, “Pink Noises” (Duke University Press). I do study psychosocial studies and cultural studies. I am currently working on my dissertation on how postcolonial traumas are conveyed through cultural productions such as art, film, and performance.

R E N E G A D E I T. G O O U T D O O R S. F I N D A N O U T L E T. P L U G I N. | D R E A M G E A R: A R O O M F I L L E D W I T H S T R I N G S

Photos: Edwina Stevens / Tom Jenkins

(R O P E S, G U I T A R S T R I N G S, V I N Y L) A N D T R A N S D U C E R S. | B E S T P I E C E O F A D V I C E: D O N’ T B E A J E R K

Marlo Eggplant.

Interview.

Words: Stacey Williams.

EAMON DONNOLEY Have you ever seen an artwork that simply makes you think to yourself, “How the fuck did they do that?” That was the case when we saw Eamon at AGIdeas a couple of years ago. As well as having our ripe little design-student minds imploded by the sheer quality of his illustrations, the way he spoke so genuinely about the passion and dedication it takes to create success out of the arts left us feeling like we could do anything. After learning that Eamon grew up in Geelong, we quickly invited him to have a chat about his work. So tell us a little bit about your background, do you come from a creative family? I do, I think growing up in a creative family is impor-

kid towards more detailed illustration just happened naturally. I dabbled in many forms of media for my work, painting, colour pencil rendering, charcoal, pen

tant as it can nurture and encourage any creative talent. My father Mal is an illustrator and artist, he studied industrial design in the ‘70s and worked as an art teacher while illustrating real estate houses for newspapers after work. He is also a musician and played guitar in 1970s pub rock band, Redhouse (look them up on Youtube!) My mother Barb is also very creative, she is a self taught gardener and had her amazing garden featured in Home Beautiful in the 1970s. I always drew growing up, being an only child I had endless hours to draw cartoons of Fred Flintstone, Simpsons, Ren & Stimpy, Disney and Looney toons characters. I did caricatures of classmates and teachers and drew over every single school book. I was into Mad Magazine in a big way and it influenced my illustration style early on, particularly drawing people. I finished school and went on to study Graphic Design at RMIT, incorporating my drawing skills into most projects. After graduating I ended up in the fashion industry working for Elwood, then various other streetwear and surfwear brands in Melbourne. Then started freelancing as an illustrator, which had always been a dream. Finding out where my talents sat in the design industry in Australia early on helped me find success as an illustrator, it helped develop a style and also a commercial skillset with the business side of dealing with clients.

until I settled on the traditional brush inking technique, once the digital colouring process evolved the work developed a distinctive style that is heavily influenced by American illustration but with an iconically Australian colour palette and cheekyness.

What was it about illustration that caught your attention? Did you dabble in many medias? I always drew cartoons as a kid, then in my teenage years I matured towards manga, comics and MAD Magazine. Being in black & white, MAD was all about the line work and in particular caricatures of movie stars and personalities of the time, I used to source old ‘70s issues from Sunday markets. So I practiced my drawing skills towards these influences and also discovered illustration in magazines such as Rolling Stone. So moving away from cartooning as a

How do you begin to make an illustration piece? Can you describe your process? I begin with sourcing lots of references or objects, people, clothing, then I begin the sketching process. First a loose rough then a detailed, refined sketch— usually tight enough with no changes to go straight into the brush inking stage, all on paper. Then once the inking is finished I scan all of the illustrations and colour them in Photoshop. The hardest part is on paper by hand, the fun part is colouring on the Mac and seeing it all come to life. A typical piece can take days to complete.

Seeing as you grew up in and around Geelong, did you feel like young artists were supported/encouraged enough when you were getting started? Having my dad work as a high school art teacher and also running his own freelance illustration business after hours was very important as it exposed me to a lot of the arts industry in Geelong. Early on I used to help him with jobs when things got busy, so it was a great stepping stone to becoming a freelancer in my early ‘20s. How important is technical skill with a pencil? How do you think the industry might change in 5 years? It amazes me to see illustrators today working solely on the screen using Wacom Cintiq tablet screens, even mimicking the pencil and brush ink look with custom brushes in Photoshop. I envy and admire them because working on paper in a traditional

sense slows the process down greatly and there is no ‘control Z’—if you make a mistake with inking there is no turning back. However, to work 100% digital you still need to have traditional drawing skills and understand the basic principals of drawing to begin with. I think there will always be a need to be able to put pencil to paper, which most illustrators working solely digital still have those traditional skills. Do you get any more satisfaction when making something digitally, contrasted to making a piece by screen-printing? I like both processes for different reasons. My digital colour illustrations look great on screen but sometimes the conversion from RGB to CMYK I lose that pop and loud colour palette. With screen printing I can have more control over the colour with picking the Pantone for a 2,3 or 4 colour piece, which I always go bright with. Each medium has different results and you need to consider that when working on a piece.

Eamon Donnoley.

IL L U S T R AT O R,

B U S H:

BEACH

D E S IG N E R,

806U PIN K: FLURO S W AT C H? PA NTONE FAVO RIT E | SLAP SLOP SLIP AND NORM I T, IN BE

Most of the work you do is based on the idea of “Australiana”. What drew you towards this kind of subject matter? I grew up in a period through the 1980s that was very colourful, summers, milk bars, BBQs, TV, fashion, it was all so loud and extroverted and being a kid of the ‘80s it was also the best time to grow up. So when the ‘90s came along, the teenage years, the recession, the cloudy decade, I was quite nostalgic for that fun childhood of the 80s. It became a passion

Are you being inspired by anything in particular at the moment? Ken Done—who I have always admired and been a huge fan of since the 1980s. He is having a massive resurgence and I am lucky enough to have quite a few works of his and some vintage homewares from the ‘80s. I had the pleasure of meeting him last year and we chatted for 2 hours about his life’s work, the ‘80s, illustration and Milk Bars!

and a hobby to look back at what was happening then and in the decade before. I started watching old Australian movies and TV, collected VHS tapes and archived the old ‘80s commercials, collected photography books on Australian life from the ‘60s–’80s and that interest became something I started to work into my style as an artist and illustrator. Early in my career developing a style that was distinct that could be a brand was important, something to stand out. So the influences in technique of the American style coupled with my love of Australian culture created a theme of Australiana in my work as an artist. In recent years I have had a lot of fun writing and featuring things from my archive on my side project, The Island Continent (islandcontinent.com.au), in particular featuring another side project about Australian nostalgia, my ‘Milk Bar Photography Project’

A NIM AT O R

—

BEACH

LIFE

COFFEE

T E A:

COFFEE

SPIRIT

A N I M A L:

PRAWN

C R E AT I V E

H E R O:

ALEX ANDER

STITT

–

WWW.PRJKTR.COM.AU

DIY.

HOW TO PERFORM YOUR OWN SÉANCE. Talking boards, better known as Ouija boards, have been used in an attempt to contact the spirit world for hundreds of years. Whether or not there is hard evidence to prove they work really doesn’t matter, this is an area that, even by the highest standards of science, remains a total mystery. The folklore and superstition surrounding their use is so utterly convincing, and the accounts of those who have used them so fervent, that it can intoxicate even the most rational minds. You don’t have to be a firm believer in all things that go bump in the night to enjoy using a Ouija Board, just willing to be open to the possibility of things beyond our world. After all, as humans, is there really any difference between the truth, and that which we believe to be true?

Disclaimer:

PRJKTR holds no responsibility for hauntings, possessions, or demonic manifestations.

HERE ARE THE RULES †† Stay Focused. †† If you’re feeling negative or sick, don’t use the Ouija Board. †† Be respectful to the spirits. †† Always say goodbye.

HERE’S HOW TO DO IT: 01. Cut

out the PRJKTR Ouija Board and Planchette. You can laminate it so the planchette can move more smoothly across the surface. Even our Ouija board made out of paper should still work fine; it’s more about your intention and focus than the materials. 02. Gather

your friends. Everybody has some level of psychic energies, but alone it won’t be enough to control the Ouija Board. Unless you’re a highly gifted Medium, you’ll need to get together a team of 3–5 people, so you can channel the collective psychic energy of your gathering through the board and create a stronger connection with the realm of the dead. Each gathering consists of 3 roles, which can be swapped around between sessions to get the best connection: The Navigator

The navigator leads the enquiry with the spirit world, and is responsible for directing the conversation. The Witness

Being involved in a Ouija Gathering can make people highly emotionally sensitive, which can quickly blur the line between what is happening, and what they want to happen. The witness doesn’t contribute their energies to the gathering, but rather remains an objective outsider to the events of

†† Don’t Séance where you sleep. 04. Cleanse

the board. Carefully bathe the board in incense smoke, whilst saying something positive and affirming, like; ‘We clear this space of all negative energies. We approach the spirit world in peace, and ask for safe passage.’

†† Don’t use a Ouija Board with strangers. †† Take everything the spirits tell you with a grain of salt.

05. Open

the Gateway Sit in a circle around the board. The Navigator places their finger on the planchette first, followed by the channelers. Take a few moments to clear your mind and focus solely on the board. 06. Reach

out. Begin to ask the spirits to respond. If nothing seems to be happening, ensure them that you’re friendly and that they’re in a safe place. A few good questions to get things rolling are: What is your name? When did you die? How did you die?

T H E P L A N C H E T T E. French for 'Little Plank, the Planchette is the key to the gateway between our world and the next.

Do you have a message for someone in the group? Do you have any unfinished business?

the session. They document what happens to report to the

again. Always repeat the cleansing process afterwards, to make sure there’s no bad energy left behind.

W LO

08. Cleanse

the scene. Make the room inviting to the spirits, and help everyone get in the right frame of mind, by decorating the space appropriately. If you’re trying to communicate with someone in particular, laying out some of their possessions will help.

03. Set

amplifying the reach of the navigator’s questioning.

psychic energy and positive vibes through the planchette,

goodbye. When everyone in the gathering has had enough, or it gets too creepy to deal with, tell the spirit world you are leaving by focusing the planchette over the word ‘goodbye’ on the board and proclaiming, ‘we bid you farewell.’ If the planchette leads you to the word ‘goodbye’ before you are done, it means the spirits are bored and don’t want to talk anymore.

The rest of the gathering’s job is to focus on channelling their

07. Say

The Channelers

V BO

rest of the gathering once everyone has calmed down.

† GOOD BYE †

1 2 3 4 5 6 7 8 9 0

F G H I J K E D C L U T B S V R M W Q X P YZ A O N

YES

ØUIJĄ

Perform your own Séance.

In the claustrophobic attic of an abandoned home, an unusual house guest reflects on their past. ‘AVERY’S NEST’ A scene from Voicebox: Lost & Found. Developed by the new creative talent of Geelong, Produced by Courthouse Youth Arts.

60 Little Malop Street, Geelong, VIC 3220

Open 9am–5pm, Mon–Fri

Phone: (03) 5224 2815 Email: creative@courthouse.org.au

Writer: Stephanie Downing Actor: Paige Van Rossum

Set Designer: Miranda Jarvis Photo: Daniel Longo

To see more photos from Voicebox: Lost & Found, or for more information about the exclusive opportunities on offer in 2016, including gallery residencies and internships, visit our website: