002. WINTER ‘15 FREE
Arts / Culture / Lifestyle
WORDS-
PEOPLE-
PICTURES-
A Tribute to the Nash Hotel / The Book Collector / A Funeral Beneath the Sea / Square Eyes /
To Be Human / Jesse Dee Tattooer / Steve Salo /
Kasper Raglus / Ryan Trickey / Joshua Maxwell de Hoog / Courtney Ward
22 August to 22 November Showcasing the best in contemporary Australian printmaking practice. This biennial exhibition features over 40 works by some of Australia’s leading and emerging artists. Sponsored by the Gallery Grasshoppers, the Ursula Hoff Institute (UHI), Louise Box and an anonymous donor
Geelong Gallery Little Malop Street Geelong 3220 T +61 3 5229 3645
Free entry Open daily 10am – 5pm Drop-in tours of the permanent collection Saturday from 2pm
geelonggallery.org.au
PRJKTR
Mini Graff The wrong Brooklyn (detail) 2014 screenprint; artist proof Reproduced courtesy of the artist
2015 Geelong acquisitive print awards
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As it so happens, you currently have in your hot little mitts a copy of PRJKTR magazine issue 002. We like stories about the arts and interesting people. But most of all, we like stories about what lays one layer below all of that; purpose, human emotion, and the expression of self through creativity. That’s one very thick, oozing and complicated layer. But one, we feel, is truly worth navigating. As the positive changes in attitude towards samesex marriage continue to ramp up all around the world (well, most of it—hint hint), it seems only appropriate that issue 002 inadvertently became about the concept of identity, in all its many facets. From fluid sexual dynamics, to portraiture, to getting ink permanently embedded in your flesh, there are so many things we humans can collect and sort-of squish together to form an idea of who we are. There’s also still so much for us all to learn. The reality of Geelong is that change is already here, and as people become braver, and more capable of expressing their truest self, our cultural focus will shift for the better.
In this Issue:
On the Cover:
Street Talk
06
In Loving Memory of the Nash Hotel
08–09
Fortress 10–11 2¢ 12 The Book Collector
14
An illustrated Q&A
15
A Funeral Beneath the Sea
15
High Priestess of Content Stacey Williams
Minstrel Riley McDonald
The Overseer Soraya Mobayad
Grammar Monk Amanda Sherring
Aperture Wizard Daniel Longo
Printed by Fairfax Media Printing, Ballarat
Court Jester Tyler Medley
Printing generously supported by: PHOTO by Daniel Longo.
DropKick 18 To Be Human
20–23
The Allure of Online Streaming
25
A Survival Guide to Binge-watching Netflix
25
Jesse Dee Tattooer
26–27
Steve Salo
28–29
The Strip
30
From ‘To Be Human’, Pg. 20–23
DIY 31
Time to put those hot little mitts of yours to good use and keep turning the pages: welcome to 002.
WWW.PRJKTR.COM.AU 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.
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PRJKTR
Intro.
5
Contributors Question:
The Flash: With Photographer, Nikki Toole.
This issues question—
5 seriously quick questions with one seriously talented human being:
What do you like to collect?
Joshua Maxwell De Hoog: “T-shirts.” Pg.15, 16–17.
Moluck: “Stories and empty bottles.” Pg. 15.
Steve Salo: “Hats, including a Viking helmet.” Pg. 28–29.
Kasper Raglus: “Parts for my 1965 Valiant AP6 and vintage Pendleton.” Pg.10–11.
Ryan Trickey: “Records, books, action figures & Batman memorabilia.” Pg. 08–09.
Courtney Ward: “80s floral art books and fur coats.”
Yasmin Mobayad: “I collect books.” Pg.14.
Brianna Doolan: “Mugs with puns on them.” Pg.08–09.
Tyler Medley: “Nicely printed goodies, and anime series.”
What would constitute a “perfect” day for you? Being able to take my dog for a long calm walk anywhere and him loving it, as he is afraid of cars and it’s a challenge. Coffee or tea? Earl Grey. Europe or America? New York. Love it.
What was the worst job you ever had? I was an Au Pair for a short time in Paris. Paris was incredible…Au Pairing at 17 was not. If you could wake up tomorrow having gained one quality or ability what would it be? Perfect health until I chose to die.. but if that’s too morbid, I would love to be able to teleport. I could catch up with friends and family in the UK or New York whenever I wanted and be back in time for tea. So British. WWW.NIKKITOOLE.COM
Pg.25.
Pg. 15.
Meanwhile, on Instagram... @istephan95
@PRJKTR_
@estherandhowl
@northofthehill
@bridgespraust
#PRJKTR
@patturnstudio
@keyofsologram
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Street Talk.
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“Moving to Australia on my own is definitely my biggest achievement. The last thing i laughed at...I'm not sure! (laughs) “I was back home in Sydney on the weekend, and went to visit my 89 year old Nan in a nursing home. She is in a wheelchair now as her legs have given up, but her head is damn on point. I put her in the car, (had to work out how to collapse the wheelchair to chuck in the boot) and drove her down the road for a coffee. Not being a keen coffee fiend, she opted for a strawberry milkshake. This reminded me of when I was a kid— every day in the school holidays we would jump on the bus, rock on down to the local shopping centre and drink milkshakes. The fact that the strawberry milkshake perfectly matched her tonal get-up of pinks was fab.
I focus most on my family, they are my everything.”
“The most amazing thing I have ever done is travel overseas, rode some amazing waves, and worked on some Oscar-winning films. The last thing I laughed at was watching someone eat, people are so weird.
The most important are your relationships with humans. Without good humans to learn from and laugh with, you won’t be a good human. Treasure those humans that you only see once every six months but the conversation is just like one left for a toilet break and came right back to the table. Those are the best kinds.
The thing I focus on most is my mother; she is old and my dad passed away.”
I have fallen in love twice. One I fell out of, the second one I’m still falling. I am afraid of time passing me by too quickly. My most embedded value that won’t ever change is drive for success, be good at what you do. Be someone people want to learn from. Be someone people will want to respect. And always remember when it is your round of beers”
“My greatest achievement was creating my beautiful kids, they are everything. The last thing I laughed at was this idiot (points to a friend and laughs). The thing I focus on most in life is love, peace and HAPPINESS!”
Photography by
Sharni Smith WWW.SHARNISMITHPHOTO.COM
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Photo: Brien Cohn
Want to know more about local festivals and arts? The Geelong Region ArtsAtlas is your one-stop shop for arts, cultural and heritage events in Geelong and the surrounding municipalities.
Visit www.artsatlasgeelong.com.au to subscribe to the FREE Arts Bulletin and receive weekly updates of all that’s happening in your local arts world.
The Geelong Region ArtsAtlas website also features a directory of artists, venues and arts organisations, and so much more. For more information call 5272 4703.
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In Loving Memory of the Nash Hotel.
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Broken doors and sticky floors, The National Hotel Geelong, this is my ode to thee.
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—A Eulogy by Brianna Doolan. —Illustrations by Ryan Trickey. A decrepit building that was falling apart, inside and out. It was like that old dude you see loitering around supermarkets, who hasn’t showered for three days but just know he is full of stories. He is familiar, oddly warm and like the Nash, full of heart. The faint scent of piss and stale ale that lingered in every corner, the bartender you knew but didn’t really know and the bounties of beards and broads that walked the smokers gauntlet to reach the toilets: This was the Nash community and without it, the Nash would’ve died a lot sooner.
There were Friday night stumbles and stammers on the dancefloor, well executed Napoleon Dynamite style dance moves that were the best you and your friends had ever seen, and the holiest of homebrews; the Nash Ale. Past the bar resided the famous unlevelled pool table that had stains as far as the drunk eye could see. Posters of live music’s past lined the walls, giving you something to look at while you waited in line for the ladies (and there was ALWAYS a line because one of the cubicles didn’t have a door). And if the walls of the Nash could talk? Well, they wouldn’t talk they’d just slur. They’d slur and sway the night away to Love Cats and when 3am came around they’d tell you to fuck off and go home. But nothing compares to that moment, when you pushed through those front doors and knew that you would see the best and worst that Geelong had to offer. Yes, it was filthy and yes, it was falling apart, but that’s what I loved about it. What you see is what you get.
Maybe I am romanticising and maybe I am just stuck in a memory. Or maybe I am just actually physically stuck to the unknown substance that lined the bar, I don’t know. What I do know is that I don’t want it to be rebuilt or “fixed.” No home renovation show could ever recreate that old Nash magic. Let the stories of the Nash become ghosts and let them walk the now smoke free passageway and haunt our memories forever. †
A
1 Wright Place, Geelong (Little Ryrie car park, via walkway near Tea Shop)
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FINALS CONCERT When Sunday, August 23rd, 2015 Where McAuley Hall, Sacred Heart College, Aphrasia St. Entrance, Newtown Geelong. Starts 2.00pm
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“I went into the girls toilet and saw someone had written a dollar sign in poo on the toilet door.” “It was the best place to find mystery pots. If you were really really really poor, you took a risk on those unclaimed liquids abandoned on the bar.” “...Taking a friend to get his bum stitched up after seeing Frenzal Rhomb and falling on glass.” “More often than not a stray pot glass would be thrown across the room and everyone would duck. It would smash and no one needed to address it—back into conversation. It was the Nash, that shit happens.”
“Getting six pack takeaways if we would help take the bins out at the end of the night.” “The time someone pulled the fire alarm while we were all on acid, and four fire-trucks came and the whole place had to be evacuated.”
“I had sex in a dinosaur onesie, stole a 2kg jar of pickles and was giving them out, sculled half a bottle of cointreau and table top danced which lead to someone getting a kick to the head.” “Some nights I'd be walking by and someone would throw drugs in my face. If a stranger gives you drugs, say thank you because drugs are expensive.”
“I was so drunk going into the girls toilets, I didn’t notice there was glass on the little shelf there. When I put my hand down to stable myself I cut my hand open and blood went everywhere. And then when the security guard came in, and ‘fuckin' hell, it looks like someone died in here’.” “Back when we played at the Nash, our guitarists used to get naked on stage quite often. I don't know why. So while the rhythm guitarist stripped off, with nothing but his guitar covering his junk, the lead guitarists stripped down to just his dodgy, silk, Simpsons-themed boxers. But when he put his leg up on the fallback at the front of the stage, the whole crowd could see up his boxers… Including his poor mother standing in the front row.”
1. What did the mural in the smokers section depict? 2. What was the shape of the fishtank? 3. What was the shape of the stamp used in the back room to show you’d payed to see the gig? 4. What night was Sumo Night? 5. What game was played in the final round of trivia? 6. What was given out free at the end of the night after closing up? 7. When the Beards played at the Nash, what was under the drummers beard? 8. What was DJ Bob Log's outfit of choice? 9. Immortalised forever: what was the last bands written on the windows? 10. Who was the bloke who booked the bands?
H
1. A tropical scene. | 2. A Television. | 3. A spiral. 4. Wednesday. | 5. Musical Chairs. | 6. Nash Dim Sims. 7. Another beard. | 8. A spangly gold suit. | 9. Goonbag Colostomy and Roysten Vassie. | 10. Al O'Niell.
“I remember vomiting on someone's shoes once.”
“Occasionally I used to give the bar tender 20c and then get 30c back for a pot.”
“One show we did at The Nash, we strapped fake guts to a friend, then mid-set we dragged him up and our singer disemboweled him and threw his guts all across the room. There were some freaked out people at first with all the blood and so forth, but everyone soon realised and it was great. There were intestines hanging from the rafters for months.”
IT
“It was gross and disgusting, broken but beautiful, because it was like us.”
“I learned more about life there than at school.”
ME N, LE
the Nash will alway hold a special place in their heart—
GE N
W NO
H NAS A! I V TRI
AN D
We will now hear from some some regulars, for whom
I
T
In Loving Memory of the Nash Hotel.
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FORTRESS.
10
Kasper Raglus.
Kasper Raglus is a young artist hailing from Aireys Inlet on Victoria's Surf Coast.
Currently I am painting for a show at Mario's Restaurant in Melbourne early next year. At this moment i think the show will be called 'Fortress' but that could change between now and the opening.
Kasper grew up surrounded by, and wearing the artwork of his dad, Jeff Raglus, a well known Australian Mambo illustrator.
With these recent works I have been really inspired by poems by Rainer Maria Rilke. He takes you on a journey with his words that's so romantic yet so bitter sweet. I like the idea of trying to conjure up a visual meaning to a poem written in the 1920s.
After a brief graphic art course and a trip to California in 2011, Kasper was inspired to get into the studio and paint. Since then he has had several major shows, sold work locally and internationally and continued to refine his blend of geometric, minimal and abstract style.
I think also now that I have a few shows up my sleeve I can look back on paintings that worked and take from those to create a new piece.
Also music is a huge influence on my work, I really like listening to shoe gaze bands when i paint like Cocteau Twins, Slowdive and Bethany Curve. They give me room to think. Also Miles Davis is so good to paint to, as cliche as that sounds, it's really inspiring trying to emulate his genius in my own work. Paintings can vary in how long they take; I have spent months on one painting or it sometimes it just takes one day to finish a piece. I think each painting is like a little life-form in itself, and when it comes to the day when somebody buys it and we have to part ways, it's kind of the coolest thing ever really. â€
Usually when I am painting the feeling can almost be therapeutic, like you almost stop time for a while. I don't know how, but I hope maybe somebody who looks at the finished painting could feel that as well. Or at least know that a human made it from scratch rather than just a print off a computer or something like that. A lot of people spend most of their day looking at a screen of some kind, so I hope when they look at these paintings it's almost refreshing to see something that has nothing to do with a computer or a phone. Most of my paintings are a reflection of something in my personal life that is going on, but I want to make it vague enough that anyone can relate.
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Kasper Raglus
“A lot of people spend most of their day looking at a screen of some kind, so I hope when they look at these paintings it's almost refreshing to see something that has nothing to do with a computer or a phone.”
In the last 3 years Kasper has shown work at: 2014
Outre Gallery (Sydney & Melbourne), 2015
Mario’s Cafe / Gallery (solo exhibit), 2013/2014
Boom Gallery (Two major solo exhibits), 2014
The Byron Bay Surf Culture Festival, 2013
Mission to Seafarers Art Prize.
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2¢
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WRITER / SOUND ARTIST / LECTURER
Dave Prescott-Steed
ARTS EDUCATOR / ARTIST
Glenn Smith
OWNER, BOOM GALLERY
Ren Inei
At what point did you think, "Yep. This is what I'm going to do with my life"? My wife often refers to me as an 'ideas' man. Most of these ideas never get past the conception stage but occasionally some get traction, grow legs and then start dragging me along a path. About five years ago I had the idea of starting an art gallery/cafe and Boom was formed. I suppose there was a definite "Yep" moment with this probably most felt when we said yes to leasing our building. I'm hoping "my life" is a long one and I want to make sure that I do not know what I'm going to do with the rest of it. I want to be surprised and surprise others in terms of what I do with myself down the track. What is on your to-do list right now? Extend a studio, finish off the education space, set our exhibition calendar for 2016, help get an urban garden from design to reality, work on a body of paintings for a show in a few months, finish these interview questions! Do you get attached to your creative work? My creative work is just who I am, I don't really go home and rest from it. We have a fantastic old country property and it's also an engaging project plus my greatest creative work is being a dad. So I guess my answer is yes totally attached and inseparable from who I am. If you could have lunch with any three people dead or alive, who would they be? Joost Bakker, Costa Georgiadis and Rohan Anderson would be sensational. I find each one of them inspiring. How much has the Geelong art scene changed over the time you have seen? Thats a really difficult question for me because I sit in the centre of a lot of arts activity but that does not necessarily mean I have a good grasp of the broader arts scene in Geelong. I would say though that there does seem to be a lot more exhibitions, events and activities happening around the place which is really encouraging. Describe your creative process in 3 words.. Dream, Think, Act. boomgallery.com.au
At what point did you think "Yep. This is what I'm going to do with my life"? In year six, my teacher got our class to talk as a group about what we wanted to be when we grew up. In the course of our discussion, all the usual identity clichés were mentioned. One boy said he wanted to become a politician, another wanted to be fireman. One of the girls said she wanted to be a teacher, another a nurse. Looking back, I now know that it was an exercise in ego-ideals—kids choosing from a range of pre-established cultural shells that seemed to reflected their own developing values and ambitions, various shapes of social identity that they could imagine themselves fitting into. At the time, I found the exercise a bit distressing because all the other kids seemed to have a fairly good idea of what they wanted to do, of who they wanted to be, but I didn't. I felt deficient in my inability to fantasise about my future self. It played on my mind, so much so that I eventually sat down with a pen and paper and attempted to tackle the problem head on, making a list of options and thoughts, and what-not. I have no recollection of what I wrote down that day, only the realisation that writing was something I could do to explore, and perhaps even make some sense of, my place in the world; the present and possible futures somehow made more accessible through writing. Like the American author Joan Didion once said, "I write entirely to find out what I'm thinking, what I'm looking at, what I see and what it means." As an 11-year-old, I caught a glimpse of a world that words could uncover, and at that moment I knew that I wanted to be a writer. Or, more precisely I suppose, I began to realise that writing could occupy an important place within the complex fabric of everyday life. Today, I am a sound artist, and I write about sound; I teach, and I write about teaching; I am a dad and I write about that too. Over the past thirty years, writing has become the mode of activity through which all others are filtered. Writing is definitely what I do with my life, but it is not the only thing. If it were, I wouldn’t have anything to write about. What is on your to-do list right now? Do some recordings of the Vietnamese gong leaning against my bookshelf. Tidy up the studio. Do you get attached to your creative work? Maybe not. Maybe yes. If you could have lunch with any three people dead or alive, who would they be? 1. My Nanna (1909-2013): she lived to almost 105 and still remembered seeing the Zeppelins getting burnt out of the sky above London during World War One. A bit more time with her would be nice. 2. Georges Perec (1936-82): Prolific French writer and chain smoker. Experimental hair, experimental books. 3. Rik Mayall (1958-2014): English comedian. Funniest person I never knew. How much has the Geelong art scene changed over the time you have seen? I've lived in Victoria for nearly seven years and have never been to Geelong— something else for my to-do list. Describe your creative process in 3 words.. Perambulatory, Acousmatic, Nonlinear.
At what point did you think, "Yep. This is what I'm going to do with my life"? I think it was always on the cards, I spent the first half of my life drawing all the time. So when it came time to leave school and pretend to be an adult, I just kept on making art and decided to also study it. I guess the biggest defining ’Yep’ shift, happened when I stepped up to combine being an artist and arts worker. Running community arts projects combined with making art immersed me in the creative lifestyle. What is on your to-do list right now? Keeping my nose above water! Currently I am swamped with working in Arts Education five days a week while trying to keep a balance making artwork for two major shows for the second half of the year. I have a solo exhibition coming up very soon at Port Jackson Press in Melbourne, followed by being selected as one of fifteen emerging artists chosen to exhibit in the first Australian Print Triennial in Mildura this October. So working hard and staying focused is at the top of my to-do list right now. Do you get attached to your creative work? I used to get really sentimental, I would not want to sell my artwork that I was really proud of. However, the work I wasn’t so proud of wouldn’t sell! But these days I am not so sentimental. I find it becomes an obstacle as it creates clutter in your workspace if you get too attached to things. Besides if your artwork gets out and about you gain exposure, hopefully sales and in return this lets you collect the artwork of other artists to soften the blow. Another aspect of letting go of the ownership of artwork that helped me, was when I started getting involved in the ‘Free Art Fridays’ movement. This is where artists place their work out in the street for free for others to find. This encourages you to physically let go of your work, reminding you that the creative process is the reward in itself, not just the consumer art object. This is another reason why I am also a big fan of street art, with its collective or community ownership. If you could have lunch with any three people dead or alive, who would they be? My mum, as she is no longer with me in this life and sharing one more meal together would be pretty special. My partner as she is my muse and my support in life and I could not think of anyone I would rather share lunch with. And finally, if we go down the hero worship approach it would be Brett Whitely as he was probably one of the first artists I admired and whose hectic lifestyle truly inspired me to want be an artist myself…and I‘m sure he would have a few good stories to tell. How much has the Geelong art scene changed over the time you have seen? The art scene in Geelong has had many ebbs and flows over the years. However, I think currently the arts are starting to gain momentum and be far more appreciated locally by the masses. I think that we are growing out of a purely footy town mentality, we are rapidly getting more sophisticated as evidenced by the café culture, new creative spaces and the council often speaking of the arts as a positive way forward. This is a bonus for all local creatives working in Geelong now and looks positive for the future.
We spoke to some of the leading creative professionals from around Geelong, to bring you their two cents on life.
ARTIST
Chelsea Gustafsson
At what point did you think, "Yep. This is what I'm going to do with my life"? I’ve never really had such a long term vision, or thought so far ahead. I keep doing it because there’s always another idea I’d like to explore and a need to improve on my most recent work. What is on your to-do list right now? Right now I’m working on two paintings for a nature inspired group show in the US for September. I’ve got a banksia just about finished and I’m about half way through a protea flower. I have a to-do list that extends into next year, but those two pieces are on the top of the list! Do you get attached to your creative work? If I do it’s never really for too long. I’m pretty critical of my work so I eventually see all the things in a work that could have been executed better, but that also spurs me on to create my next piece or series of works better than the last. If you could have lunch with any three people dead or alive, who would they be? Just a random mix that comes to mind: David Bowie, Stephen Fry and Rebel Wilson. How much has the Geelong art scene changed over the time you have seen? Just over the last several years I think the vibe to Geelong’s art scene has amped up and got more exciting. The caliber and diversity of talent is getting out there and I don’t think you can underestimate the significance of social media—as noisy as it can be, all the good stuff bubbles to the surface through people sharing and thus helping to promote. Describe your creative process in 3 words.. Inspiration, Anxiety, Satisfaction. chelseagustafsson.com
Describe your creative process in 3 words. Experiment, Mistakes, Persistence. nofrillsart.net
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Words.
The Book Collector. By Yasmin Mobayad.
The author has the highest position of universality in the lives of their readers. A book can change someone’s life by way of a character, a sentence, a scenario. Even a word. The relationship between the author and the reader is symbiotic; like yin and yang. You cannot successfully have one without the other.
Books, like good art, film, music and even TV, challenges us to think about ourselves in the bigger picture. It places a mirror in front of us so we can reflect on our own lives in relation to the stories we are becoming engulfed in. The perfectibility of humankind is a big ask, even from Steinbeck, but what he is trying to convey is that we need to believe that we can change and improve, otherwise what are we doing? To work towards our dreams, goals and ultimate happiness are things we all have in common. Everyone is working towards something in their life, and whether they reach it or not does not matter. What ultimately matters is that they try.
I have been circling around this idea for quite some time now, having debates with family and friends. Good writing is the very foundation of new ideas, provocative thought and pushing the boundaries. So much so that in past lives many of the books that we have come to know and love were once banned for being too thought provoking or too ‘scandalous’ and forwardthinking for their time. I am a collector of books. It began with picture books like Bye, Bye, Baby, the sad tale of an orphaned infant looking after himself, to The Magic Faraway Tree series, to the classics like The Great Gatsby, Of Mice and Men and Cat’s Cradle. From the fascination of a child having to care for himself to the exciting adventures of Fanny, Dick and Moonface (go on, have a laugh), to the extravagant parties of Gatsby; all of these characters offered me something new and something exciting to hold onto. It fascinates me how a book or character can be so vividly branded into our minds and personalities, and yet many of us cannot find the time to read a single short story anymore.
Through other peoples stories we find comfort that we are not alone in our struggle and journey to reach whatever outcome it is that we want from life. With so many stories at our fingertips, how can we not be just that little bit curious about other peoples lives and journeys?
Over the years I have become obsessed with books; they line the walls of my apartment and lie in stacks on my bedside table, I almost always have one in my bag whenever I go out. I physically cannot leave a library without borrowing at least one. Admittedly, it has reached the point where it is getting quite ridiculous. The amount of books is far outweighing the space I have to put them on, and yet I keep collecting.
I know I am not the only one with this problem. Many of you out there will be saying to yourselves you too share this weird obsession. Others will be able to relate because maybe you collect films, CDs, vinyls or video games all for the same reasons I do. It’s all in the way these possessions make us feel and relate to each other that becomes the hook. It’s as one of my favourite authors, John Steinbeck, once put it in his Nobel Prize speech: “[any writer] who does not passionately believe in the perfectibility of man has no dedication nor any membership in literature” (Steinbeck, 1962). This may not make a whole lot of sense, so let me break it down. It was Steinbeck’s belief that the human condition, that is the longing for something better, the grass is always greener effect and the general struggle of everyday life, was a vital element of a good story. In his stories the characters always fall to their flaws, but they do not fall without first striving to achieve their end goal.
I collect books because on each of the hundreds of thousands of pages, between the covers of Hemingway, Vonnegut, Plath, Joyce and the countless others that sit on my shelves and tables I know there is a lesson to be learnt, a story to be told and a solace to be found. †
PRINT IS DEAD. So is Michael Jackson, but you don’t see that stopping him.
Return print to the people. Submit your writing, photography, illustrations and/or ideas to:
STACEY@PRJKTR.COM.AU
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15
An illustrated Q&A
Joshua Maxwell de Hoog.
Josh de H. is a local artist and a third of the team behind Analogue Academy.
1. Draw us a self portrait.
His surreal and cathartic paintings offer a genuine, and often sardonic insight into his unconscious.
3. What is your earliest memory?
He can usually be found rushing down the street on his bike, with his majestic mullet blowing in the wind behind him.
PHOTOGRAPHER / PAINTER / CO-OWNER OF ANALOGUE ACADEMY.
A Funeral Beneath the Sea. A splash of water awoke him, eyes searing with the sting of sea-salt. From the couch he slipped on his suit jacket that had doubled as a blanket, seeing that a coffin still lay on the lounge room floor draped in cigarette butts and beer cans. His body pleaded for a cigarette, wincing when it realised there was only chaff left in the tobacco pouch. Soon, a store would provide more, for now he just stared eyes only considering the background of the scene. An insistent sadness hugged him like the old friend who today was to be buried at a funeral beneath the sea. Over stained carpet he sailed the coffin past broken and missing room numbers. The nice lady from down the hall dropped her groceries when the doors of the elevator opened revealing a man in a cheap suit standing beside a casket.
2. What do you look like in your dreams? 4. What is your spirit animal? 5. What is your personal version of hell? 6. If you knew you were about to die, what would you eat as your last meal?
Written by
Response illustration by
WRITER / POET
ARTIST / FLORIST
Moluck
Courtney Ward
Giving a false smile, he dragged it to a borrowed car, hauling it into the open boot. On the highway, a coffin protruding from a car drew nothing but strange looks from creatures of this hazy world. Eyes surrounding; they taunted him with their glares before his arrival at the store sent them scurrying away. He lumped the coffin through the sand at the beach, leaving a slithering wake. Using it as a seat he rolled a cigarette, and watched the smoke dance over the shore; they liked to go dancing hips swirling like smoke on a subtle sea breeze. The cry of gulls awoke him forcing the first steps of a voyage to where an old friend was to be buried at a funeral beneath the sea. †
Read ‘A Funeral Beneath the Sea’ in its entirety at: WWW.PRJKTR.COM.AU
PRJKTR
Joshua Maxwell de Hoog
PRJKTR
PRJKTR
People.
20
PRJKTR
TO
21
BE HU MA N A photographic investigation by a human called Daniel Longo. —
I drove to a shared house of five people where I was to meet two particular residents, named Ainsley and Grant. I had no expectations or anticipations before meeting them. I knocked on the front door, where I saw a figure walking towards me through the murky glass, under dim tungsten lighting. The figure came closer, and Ainsley answered the door. I was welcomed with a big smile and a warming hug. I immediately felt comfortable. I was introduced to the other housemates including Grant. My camera was not even switched on or thought about until towards the end of my visit. Throughout the night we sat down and enjoyed a few rums with coke, cigarettes and most importantly, each other’s company.
None of the conversations we had involved asking questions about identity or who or what they stand for or believe in. I did not need to ask about the ideas and reasons behind their unique identities. What for? I was there, I was present. We were all there, being ourselves, who we are. Coming from an analytic perspective, for once I felt as though I didn’t need to question the people or the environment surrounding myself. I felt at ease with Ainsley and Grant.
I did not see them as a boy and girl; I saw them as people with no links to gender or labels. These ideas and terms are not necessary. Be who you truly are in this bizarre experience we call life. Be what you feel.
Throughout the night, Ainsley eventually pulled out some different pieces of clothing for them to dress up and drag in. Ainsley then applied makeup to the both of them. I sat there slumped into the couch, sipping on my rum, and felt a beautiful openness about the two of them. They were both very comfortable in their skin, and it has nothing to do with sexuality or gender or being labelled as ‘this’ or ‘that’—it’s just about, being.
PRJKTR
“Everybody has just got to find who they really are.”
22
—Ainsley Mason
“I’ve always known I’ve been a bit different to the norm. But when people do actually tell me that I’m different, it kind of takes me by surprise, because I’ve always been this way. I don’t know anything different.”
“Obviously we have sex differences, but they’re only skin-deep. Everybody, at the centre of themselves, all want the same thing. “I try to not even see someone’s gender at all.”
They want to feel protected; they want to feel loved. That’s essentially what it is to be human, and that’s the important thing, not what’s on the outside.”
“Grant is wonderful. I love him so much. He’s so comfortable with his own gender. He’s got great cheekbones and legs, and I love to dress him up — but he’s straight as. He’ll just wear a dress and let me put makeup on him, and he doesn’t let it affect who he really is. It has nothing to do with his sex. It’s really refreshing.”
PRJKTR
To Be Human.
23
“I’ve always been a bit kooky with the way I dress I suppose, but being so honest with myself has made me more confident, made it easier to talk to people, and therefore helped me make more friends.” “I’ve started looking into the Polyamory community. It’s not about just sleeping with other people; it’s more about connection. It’s completely open and honest. It was a little bit scary to start with, but once you start having all these amazing connections with other people, it’s really nice. I don’t like having a line between relationships, and just friendships. There is no line. If my partner found someone that they deeply connected with, it would make me happy to see that they’re happy.”
“Society boxes you in and assigns you to either male or female. Before you’re even born people start treating you in a certain way. Some parents don’t even notice that they’ve been conditioned into this idea—‘this is how you treat boys, and this is how you treat girls.’ We get it built into us from so young, that no wonder people are starting to become confused about their gender.”
“I love getting into costume, especially with the boys. It’s just about being comfortable with yourself and not letting things like wearing drag get to you. There’s nothing more unattractive than a macho man who can’t even have a straw in his drink, because it’s ‘too girly’ and he’s scared it will change who he is.”
PRJKTR
24
PRJKTR
25
Square Eyes.
THE ALLURE OF ONLINE STREAMING.
A SURVIVAL GUIDE TO BINGE-WATCHING NETFLIX.
—By Tyler McPherson.
—By Tyler Medley.
Australia has a plan. A plan to cut down on piracy, a problem which the government believe runs rampant throughout our culture. A bill was passed earlier last month in an attempt to crack down on the online nature of today’s society. The new law works on a three-strike basis. When the rights holder enquires about an infringement, the Internet Service Provider (ISP) has to send a warning to the customer about the said infringement. This first notice includes information regarding where to find legal sources of content. If you infringe another two times, within a year, the ISP is required to give your details to the rights holder and after that they can pursue legal action if they so choose. The idea behind this is to have torrent sites blocked from use, as rights holders simply have to apply to have sites that infringe on their copyright taken down. But will this plan work? Honestly, it seems like there is no stopping the onslaught of online streaming as—to Australian consumers— streaming seems to be a better option than the television. Because of the time-orientated nature of life today, people prefer the choice and ease that comes with streaming TV shows or films. Streaming allows an advertisement-free experience, cutting down the run time of the show, as well as offering the content at any time. Because of this people are turning away from the scheduled nature of television and moving online to view content. Television only offers shows at one or two scheduled times and for those with work and families to look after, they often miss these times. Streaming, however, offers them the ability to watch their favourite shows at their convenience.
Initially Netflix seemed to offer a service that would provide original content, as well as a mix of old and new shows. However, some people turned away due to the monthly fee and because it doesn’t provide recent episodes of shows as they come. Streaming sites offer the most recent episodes of shows and allow people to view movies that are currently in cinemas; in this way they offer viewers a service that legal streaming sites can’t offer. So with this popularity of streaming, will the policy on piracy work? Well, with hundreds, if not thousands, of sites out there where streaming and downloading is available, it hardly seems likely that the government can block them all. Even if they do, more and more people will just create sites to share and stream content to the public. The law also relies on rights holders wanting to follow this course of action. Creators of films and shows are aware of how big streaming has become, with some shows being released before the air date. Although these have been said to be leaks, reviews and first impressions are released online, promoting the shows and films for their companies. In some cases, the company may want the leak to stay; this is more common with TV shows than with film. So it doesn’t seem like streaming or downloading will be on the way out anytime soon, even with this new law. To most people, streaming is just an easy way to view the content they want to view, when they want to view it. †
Getting down to business. When you sit down to watch Netflix, it’s important to not stuff around and actually choose a show. You want to avoid procrastinating, and spending more time browsing than actually watching takes a serious chunk out of your viewing time. Check yourself before you wreck yourself. Showering before your session is essential. Brush your teeth so that you may later apply another coating of food-based substances without the guilt. Your viewing can continue uninterrupted and you will be clean as a whistle before you physically attach yourself to the couch. We should respect personal hygiene. (Dis)connect. Human contact and communication become pretty much non-existent as you start your descent into a Netflix-induced introvert trance. Your phone will become your best friend as you use social media to let people know about your watching habits. People love to know what you are watching and definitely care about how addicted you are. However, beware spoilers at your own peril. If you spoil my series, I will spoil your life. Prepare to shun the ones you love if they betray you with information.
Upstairs, The Wintergarden 51 McKillop Street Geelong Victoria 3220
P: 0401 160 430 E: jillart@optusnet.com.au
AUGUST
SEPTEMBER
August 1–30
September 4- 27
HOMAGE TO THE MASTERPIECE Be immersed in art, theatre and music.
ANNUAL SCULPTURE SHOW. Glass, timber, metal, wire, ceramics, and much more!
Performances A creative collaboration inspired by masters artworks. August 13, 14, 20, 21. 7.00pm–8.30pm. Bookings essential. Tickets $22 Includes wine and cheese.
PREPARE TO LEAVE YOUR DIGNITY AT THE DOOR.
Prepare for the apocalypse. Before you go headfirst into your television screen, you must prepare yourself. Stock up. Food is your friend, and more is always better than less. There are the classics—crisps, candy, fizzy drink. I, however, recommend balancing this with some fruit and vegetables (lolly bananas count, right?). Have plenty of water on hand, dehydration will take you out of the game. Breaking good. Limbering up can be the factor in making your binge-watching session a big one. Bathroom breaks, stretching and making calls are all things to be done in between episodes. It is imperative that you make these small breaks so that you do not burnout. Missing the end of a season due to fatigue will ruin your life. Congratulations, you are now fully prepared to become a slave to your television.
Open daily 10am–4pm www.artwintergarden.com.au
OCTOBER
October 1-28 ‘INSPIRED BY NATURE 4’ FRIENDS OF GEELONG BOTANICAL GARDENS.
PRJKTR
Diamond Eye Tattoo:
26
Jesse Dee.
“You’re always going to get people who stare or disapprove, and you’ve got to be okay with that.”
It’s hard to not feel intimidated by the sight of a heavily tattooed man walking towards you. Upon first meeting Jesse Dee, tattoo artist and co-owner of local tattoo studio Diamond Eye, all we could tell is that he certainly looked the part, with tattoos creeping up and around his face and peaking out of sleeves. But as we began to chat with him about his work, something that he is obviously very passionate about, it became clear that appearances, and the stereotypes that often come with them, can be deceiving. An honest, respectful, and impossibly talented person, Jesse took the time to etch for us a clearer picture of the world of tattoo art, and show us around the studio. — Photography by Daniel Longo.
What’s it like tattooing for a living? Do you like your job? It’s one of those things that you’ve got to be willing to give 110%, all the time. It’s more than a job—it’s a lifestyle. It’s not like I get up every morning and go, ‘fuck I’ve got to go to work’, I’m lucky enough to do what I love every day. It’s sad seeing people who hate their job, and I hate the fact that people let what they do for a living define who they are. You need to love what you do, otherwise just don’t do it. How would you describe your own tattooing style? I tattoo all different styles, but mostly Neo-traditional and Japanese. I think it’s part of the job that you should be well rounded, and be able to do a bit of everything. You don’t want to have to knock back work. There are a lot of people out there who do only one style, and that’s cool. But if you work in a street shop, you should be able to do everything.
What are some of the things people should be considering before getting a tattoo? Do your research. Know what you want, and who you want to do it. People assume that if you get a tattoo in a shop, that the end result is going to be good—it isn’t always the case. For something that is so permanent, you shouldn’t just look for the cheapest option. Tattoos are like everything else—if it’s cheap, it’s usually a sign that it’s not very good. What’s the most painful spot to get tattooed? Generally it’s your ribs. But everyone’s different. It just all depends where your nerve endings are. It also usually favours whether your left or right handed; because you’re moving your leading arm constantly, while the other is pretty much dead weight. We’ve found that it always hurts on one side of your body than the other.
What would you say is the number one biggest misconception about tattoo culture? That we’re all criminals. Most people assume we’re all bikies or something, but it really isn’t the case. I can tell you now that probably 80% of the people who see me walking down the street think I’m a scumbag—and that’s fair enough, they’ve got their opinion— but it’s just a stigma tattooing has developed. I think that will always stick around too, because of things that are attached to the industry. It’s up to the artists and the people working in the shop to break that stigma down. To a lot of people it’s still really foreign to mark your body. You’re always going to get people who stare or disapprove, and you’ve got be okay with that.
PRJKTR
27
Jesse Dee.
How does your family feel about your practice? Mum was a bit apprehensive at first. She was always pretty displeased when I’d come in with my hands tattooed, but she’s all right with it now. I’ve been tattooing nearly 10 years, so she’s had plenty of time to get over things like that. My Grandfather though, he would always tell me to stop what I was doing and go get a real job. He was nearly 90 years old, so it just shows his generation’s view on tattooing. My dad has tattoos as well, so he’s all good with it. Have you tattooed your own dad? Yeah, it was really nerve wracking. He’s my toughest client. The first time I tattooed him I just couldn’t stop shaking. Do you ever get personally attached to a piece that you’ve done? I have favourites, for sure. Some tattoos I look back on, and I’m happy with everything that went into it. There’s nothing I would have changed. But then again, I have other designs I’ve done that I pick apart and start to work
out what I would have done differently. The client’s still love them and there’s nothing actually wrong with them, it’s just me being critical of my own artwork—which is important. If you don’t have that critical reflection on what you’re doing, that becomes the point you stop caring. You can’t afford to not care, when your putting permanent things into peoples skin. You do have to be pretty hard on yourself. Is there much respect for tradition and history in the tattoo industry? Depends where you go, it’s different all over the world. I’ve travelled a fair bit, working at tattoo conventions in America and Canada. I’ve come to realise that there’s a massive lack of respect for tattooing in Australia. It’s been around for a lot longer in America, that’s where it all started. They have their tattooing pioneers, so to speak, who are really respected in the industry. But here, it’s more just about looking cool. A bit of the meaning is lost. It seems some people around here just get tattooed for an image—they’re the ones that will grow up to regret them.
Do tattoo reality TV shows, like Tattoos After Dark, depict an accurate portrayal of what’s it’s like to work in a tattoo studio? Those reality shows will be the death of the industry. They did bring tattooing a bit more into the mainstream, which helped to loosen that stigma, but it also meant there was more people working in tattoos after that. That’s where the respect for the profession is being lost. People have come to expect certain things that they’ve seen on TV, that’s just not realistic in everyday life. You can’t get a whole sleeve design drawn up on the spot, and have it tattooed in a day, for example. It’s just doesn’t happen. Have you ever had your designs ripped off? It happens all the time. It’s not like your designs are copyrighted or anything. As soon as you post a picture on the Internet, it’s up for grabs for the rest of the world. If someone is ripping off your artwork, you’ve just got to take it as a compliment—obviously you must be doing something right. It is shitty when someone else is using your hard work for their own personal gain, but there’s not much you can do.
What’s your best piece of advice for aspiring tattooists? Just keep drawing, and be prepared to let it consume your life. When I’m not working at Diamond Eye, I’m at home thinking about my next piece. There’s a lot of stuff that comes with getting into tattooing that people don’t realise. Be really pedantic about your work, too. There are no second chances with tattoos. People are so quick to jump on the bandwagon of hating on someone. I could do a hundred good tattoos, but you’ll always hear about the bad one. Unfortunately that’s just how society is. People don’t want to see you succeed, I don’t know why. You should be happy to see people achieving great things in their life. †
PRJKTR
People.
Steve Salo.
28
To paint a portrait seems simple. Paint two eyes, a nose, a mouth, and ears in the right place on a circle and viola, you've made a portrait. But the works of Steve Salo are of a different nature completely. I was wondering the streets of Geelong, lazily popping into the different galleries when I stumbled upon Steve’s exhibition Passerby at Metropolis Gallery. —Words by Stacey Williams.
PRJKTR
29
Steve Salo
How did you begin your practice? My early formal training was all to do with realism. I always had a strong passion for depicting reality. It wasn't until after the fire in my last studio, only in the last four years, that I really started going into some contemporary portraiture work. What’s interesting in an artist’s life is that you get to a point where you would like to go deeper down the rabbit hole. In my practice, I want to go further now.
"You have to have some faith. Keep doing it. Your skills, attitude and mind develop over time. Don't give in to the dark." So a part of your creative practice is to challenge your skill set? I enjoy the challenge. You master the basics then you’re brave enough; confident enough to just push. And when I started pushing, I started to find that I was doing a raw kind of experimental work that I would have never of dreamed of doing 3–4 years ago. I only did two years of TAFE but almost everything else I learnt I did self-taught. Sometimes young creatives might feel like their creativity is squashed at school… How do you feel about that? Odd Nerdrum said once, “True art can not be found in the walls of academia.” Did you have any creative mentors? Because I was a severe asthmatic as a child, I had a lot of time off school, and my art books became my world. It’s been a hard, long journey. I had no one to really relate to. My first real mentor was Robert Drummond of the Geelong Art School.
How do you feel about artist’s motivation? There has to be core intent to produce something from inside you, without considering the value, never ever considering how to paint it so it will sell because you need the money. It’s doing harm to yourself and to the art itself. Most of the best art comes from a deepseated feeling. And you just gotta get it out; no thought for anything else. Then you produce the work, and that's real deep stuff. I think all art should be done that way.
"Most of the best art comes from a deepseated feeling. And you just gotta get it out; no thought for anything else."
rather than recreate a representation of reality. I want to create a feeling. My last show was based on that feeling of seeing someone for a brief second. It’s almost like a glimpse of something outside. What colours do I feel when I look at someone? When I look at a person, do I see sadness or do I see happiness? I haven’t purposely laid out colours for a person; it’s all based on intuition. Certain people I see greys, and black and darks, but then with a hint of orange. I seem to have the ability to pick up on that too.
I’m a sensitive type of guy. I was really sensitive to other people’s opinions when I was younger, but now I have a braveness. Other people’s criticism and comments really stumped my growth and confidence for the longest time. I used to make work and not show anyone. I had for years a fear of judgement and criticism. Non-acceptance. I was very young when I first started out, and all the other artists were much older. I think it’s great, all of the opportunities that are in Geelong for young artists to exhibit. I had none of that when I was a kid.
I’ve gone through the dark, the depression. And the work can reflect how I feel some days. I prefer to paint when I feel neutral, not when I’m down.
But the art has almost depressed me, like banging your head against a brick wall. You have to have some faith. Keep doing it. Your skills, attitude and mind develop over time. Don't give in to the dark. Because I nearly did at certain times, packed up my studio several times—only to go back.
What was the worst job that you've had? Worked at McDonalds for one day and quit that day; told the kid to shove it up his arse. Pizza delivery, door-to-door, security… I’ve done a bit of everything. Office-work with no windows, in a cement graveyard. I quit, and I have never regretted it. I did everything I could to not be a robot. Work hard at your art so you don't need to work in an office.
Is the intellect important in your creativity? Yes it is, but I’ve gotten to a point now where I’m almost in autopilot. Completely working from the subconscious, without the minds input. It fascinates me. It’s almost as if the hand is being controlled without any pre-thought. Years ago, in my training, I would be planning the painting stroke by stroke. But in my latest work there is absolutely no pre-thought.
The more you’re tuned into working by feeling, the more it will happen. It’s like the piece painted itself. Our job as artists is to allow that to happen, and to not fight it. The left side of your brain might say, “that's not right,” but you really need to tell it to piss off, so you are completely on right-brain mode.
I just wanted to focus on my art. I was in my cave almost going insane, no real connection with the outside world. But there is nothing else I would rather do. For everything that's happened, sometimes I think to myself, fuck is it all worth it? Fuck yes it is. †
With certain works, I want to create the feeling of that person or a feeling of that landscape
www.stevesalo.com
From Left to Right: "Passerby Collins Street" Acrylic on Canvas. "Passerby Union Street" Oil on Canvas. "She Stopped and Stared" Oil on Aluminium. "Passerby Star Street" Acrylic on Canvas. "There She Stood" Oil on Board.
M E T RO P O L I S G A L L E RY
+
GEELONG PICTURE FRAMERS • Custom Framing • Fine Art specialists - paintings and works on paper • Conservation Framing • Photograpy, textiles, historical and sporting memorabilia • Canvas stretching • 3D objects + family treasures framed with care • Large range of mouldings and hand-finished timber frames • DIY Picture hanging system • Convenient parking out front
Metropolis Gallery exhibits works by local and national artists, with an extensive range of original Australian paintings, contemporary and collectable edition prints, art glass and jewellery. www.metropolisgallery.com.au
Frames that conserve, support and complement images + objects. Fine Art Conservation Framing a specialty at Geelong Picture Framers. www.geelongpictureframers.com.au
METROPOLIS GALLERY • 64 Ryrie Street Geelong 3220 • Telephone 03 5221 6505 • Open 9 - 5 weekdays, 10 - 4 Saturday
PRJKTR
The Strip.
30
PRJKTR
DIY.
How to build your own pinhole camera.
By Jessika K.
31
@JESSIKA_K_AND_RUBY
Making a camera is really quite simple.
Step by step:
All you really need to consider is light, dark and distance. With that, you can turn almost any light-tight ‘container’ into a camera.
1.
6.
1 1.
Cut out the template below, or download from PRJKTR.com.au.
Pierce a small hole into the foil on part A with the tip of a paperclip, or a pin.
2.
7.
Glue template onto the A4 sheets of cardboard.
Insert part D into the slot at the top front edge of part B from the inside. This will turn part D into a shutter that can be moved up and down to expose the film.
Undo the empty film so it is in 3 pieces. With the empty cassette on the right, tape the film to the spool then piece back together the cassette. Note, the full film will be
Camera Obscura, meaning 'dark chamber', is the latin name for one of the simplest forms of camera. It consists of a dark room or box with a tiny hole. This pinhole template, to be constructed out of cardboard, is based on a camera obscura, but with a few added features which allow you to photograph directly onto 35mm film. When lifting the shutter, light travels through the pinhole and focuses in the distance to where the film sits. Tiny silver crystals on the film react with the light and imprint an image onto the film. This is a toy camera designed to take experimental, abstract images.
3.
Cut out pieces of template, including bits labelled ‘cut out’. A scalpel may help with the smaller pieces.
backwards, which will create an experimental effect. 12.
Slot the films into the back of part A, empty film on the right and full film on the left. The top of the films will protrude through holes in the top.
8.
4.
Fold all dotted lines inwards so that the printed page is on the outside. Fold grey tabs on parts A,B & C inwards also. Glue the tabs to the back of the side they are now folded next to (except the tabs facing outwards on part C), creating box like shapes.
Glue the flaps on part E back on to the main body then glue the piece to the inside of part B so that it holds part D in position but still can be slid up and down.
13.
Slide part A into part B, closing off the camera. The front of part B will wrap around part A.
9.
14.
Glue part G to the top of part B next to the shutter piece, creating a viewfinder.
Strap the camera together with the rubber bands, making sure they don’t cover the pin hole. Blutak the knobs into the top of the films.
5.
10.
Glue the small piece of foil on the inside of part A, covering the cut out hole. Then glue remaining tabs on part C to the inside of part A, making sure part C is centered.
Fold the square piece of part F in half, place a paperclip in the fold then slide into the slot in the disk. Fold the flaps so they sit flush against the bottom.
Your camera is complete!
Things you will need: BluTak
Part A → Inside Body
Scissors
Glue
Rubber bands ×2
CUT OUT
Small square of foil
35mm film
Empty film cassette
A4 sheets of cardboard
(Ask your local photo lab for empty film cassette.)
(Cereal Boxes are the ideal thickness.)
Part E → Casing for Shutter
CUT OUT
CUT OUT
CUT OUT
Part G ↓ Eyepiece
CUT OUT
CUT OUT
CUT OUT
CUT OUT
Part C → Frame
Template also available for download at www.prjktr.com.au
Thunderstorm 1/2sec 1/2sec 1/2sec 1/2sec
Do not use in rain or wet conditions
Night 1min 1min 30secs 15secs
Rain
CUT OUT
Cloudy 2secs 2secs 1sec 1/2sec
800 ISO 400 ISO 200 ISO 100 ISO
Exposure Guide:
CUT OUT
CUT OUT
Clear 1sec 1sec 1/2sec 1/2sec
Part F ↑ Turning Knobs
CUT OUT
Part B ← Outside Body
Part D ↑ Shutter
PRJKTR
Be Seen. Be Heard. Be Moved.
What is VOICEBOX, we hear you say. Well we don’t actually know yet, but that’s half the fun.
What we do know is that writers will develop monologues, actors and dancers will bring those monologues to life, while other scenic, visual and sound artists will help create a world around them.
Voicebox will be a rich and vivid experience, entirely developed through the collective effort of young storytellers from all creative backgrounds, in response to new and unexplored surroundings.
The rest...we'll just have to wait and see.
All their hard work will come together in a final emmersive, genre-bending performance at the Geelong Powerhouse, on the 14th to 18th of October.
W W W. C O U RT H O U S E . O R G . A U
#VOICEBOX15
Come be part of the creative melting pot that is VOICEBOX. Sign up to our mailing list by scanning the code below, to receive up to date VOICEBOX news, as well as discounts and exclusive offers.