Raw Ink Magzine - September 2011

raw

art | design | music | writing | creative | culture

magazine

brisbane gold coast tweed coast

In this Issue: Brisbane Semi-Permanent 2011 Review

New !

Local Online Creative Magazine

We interview Fintan Magee Tricking: A New Sport for Australia

Issue 1, September 2011 www.rawinkmagazine.com

We l c o m e to our new magazine!

Hello and thankyou for reading our very first issue of Raw Ink Magazine. We are three young creatives living on the east coast of Australia who had a dream of creating our own magazine... and here we are today! Collectively we have passions for graphic design, jounalism, art, photography, typography, craft, illustration and music.

We are all very excited about this release and hope that you enjoy. If you know of any creative events happening in your local area, or would like to contribue to the magazine, feel free to send us an email at: roxy@rawinkmagazine.com We hope for our next issue of the magazine to be released in early October. You can keep up to date on our lastest news on our website, Facebook and Twitter-tweets.

THE RAW INK TEAM

Roxy Coppen

Graphic designer and editor. roxy@rawinkmagazine.com www.monkeywingdesigns.com

Ruth Dunn

Journalist. ruth@rawinkmagazine.com

Liana Turner

Journalist and photographer. liana@rawinkmagazine.com onlyverisimilitude.blogspot.com THIS MONTH’S CONTRIBUTERS

Wade Townsend

www.twitter.com/waddlespaddles

Cover Illustration by

Rebekah Dunn

beskhetti@yahoo.com.au

Look forward to seeing you next time.

With special thanks to From,

The Raw Ink Team xx

www.rawinkmagazine.com www.facebook.com/rawinkmagazine.com www.twitter.com/rawinkmagazine.om

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Betty Zhang, Penny Bennett & Luke Johnson

contents 4 Upcoming Events

32 ‘Tricking’ Liana Turner

at the Seams’ 8 ‘Dreams Ruth Dunn

Art Show’ 34 ‘SEE! Roxy Coppen

‘Semi-Permanent Semi-Review’ and Slaves - The Pet’s 36 12 ‘Masters Roxy Coppen Battle’ Wade Townsend Wilson Tribute 18 ‘Paris Night’ Liana Turner Magee’s House of 20 ‘Fintan Giants’ Ruth Dunn Chat Corner with 24 Chit Evangeline Cachinero

Goodwin - A Long 56 ‘Peter Time Coming’ Ruth Dunn Great Banana Barn 60 ‘The Dance’ Liana Turner

62 ‘Exiles’ Liana Turner

Ruth Dunn Chat Corner with 29 Chit Fintan Magee Ruth Dunn

to Soothe the 66 ‘Metalcore Soul’ Liana Turner

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upcoming events SEPTEMBER Now - 11th

Archibald Prize 2011 Tweed River Art Gallery www.tweed.nsw.gov.au/ artgallery Now - 17th

Peter Godwin

Philip Bacon Gallieries www.philipbacongalleries. com.au

Now - 20th

Contraband

Featuring Anthony Jigalin, Clinton Cunningham, Fintan Magee, Georg Whelan, Guido Van Helten, Jake Reston, Rebecca Daynes, Sami Butel, and Yannick Blattner.

White Canvas Gallery www.whitecanvas.tv/gallery/ Now - 24th

Brisbane Festival

For three weeks we will welcome international and national artists to perform across our city. We will also provide a platform for our

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outstanding local talent to share their success.

Our 2011 programme boasts four world premieres, five Australian premieres and eleven international productions. We are also very proud to be presenting three unique collaborations, that see artists from different cities and different genres unite to create original and fascinating work. www.brisbanefestival.com.au Now - 24th

Rone & Ed Zaccone Edwina Corlette Gallery www.edwinacorlette.com Now - 15th October

Gonkar Gyatso Three Realms

Tibetan artist Gonkar Gyatso interweaves traditional Buddhist iconography with pop culture to explore issues of identity, globalisation, hybridity, and consumerism.

Institude of Modern Art www.ima.org.au

Now - 16th October

Surrealism: The Poetry of Dreams GoMA Brisbane www.qag.qld.gov.au Now - 16th October

Dreaming of Chanel QUT art Museum www.artmuseum.qut.edu.au 9th - 18th

Swell Sculpture Festival

Currumbin www.swellsculpture.com.au 24th

Counter Revolution (Soundwave)

Featuring bands such as Panic! At the Disco, Yellowcard, Hellogoodbye, Story of the Year, Face to Face and Teh Damned Things.

Brisbane Riverstage www.soundwavefestival.com

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Dreams at the

Seams Ruth Dunn

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Whether it’s that worn out pair of old jeans, the hat beyond redemption you refuse to throw away, or that dazzling cocktail dress, most of us have our favourite item of clothing that reminds us of a person, a moment, a place, or a feeling we have experienced. The elegant, bold, and meticulous dresses in ‘Dreaming of Chanel’ speak of their previous owners in a personal and intimate way. Though resting silently on their mannequins, these garments speak of a time of long love, lost love, determination, boldness, and dreams come true.

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Opening as part of the Mercedes Benz fashion festival in Brisbane, ‘Dreaming of Chanel’ opens the door of Charlotte Smith’s impressive closet, allowing a sneak peak into some of the beautiful designs that make up her private collection from the world’s biggest Fashion houses, including Chanel and Dior.

Charlotte inherited this priceless collection of couture from her American godmother Doris Darnell. Coined the

‘Darnell Collection’, Charlotte Smith is proud owner of Australia’s largest collection of international vintage clothing and accessories.

But this exhibition is more than just an exercise in gawking at the works of famous designers and calculating which personal belongings you would have to sell in order to have a chance at owning such a garment.

‘Dreaming of Chanel’ draws on the stories of the clothing

and the dreams attached to them, whether the piece was by a famous or unknown dressmaker. Instead of being unable to identify with the price tag, I was able to identify with the intimate stories of the women who owned the dresses, and appreciate the pieces on a new level.

The exhibition is divided into four parts: A History of Women, F is for Fashion, Things I Treasure, and Love Stories. A History of

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Women explored clothing worn by women from as early as the 1890s to the 1970s. Like ghosts of the past these garments reflected the character of their owners, and captions gave insight into their experiences. One of the pieces in this section is a David Jones Ensemble (1970-73), a bold red, white and blue, flared polyester pantsuit. This piece represented an important time for women’s lib, when in 1973 in a ‘Battle of the Sexes’ tennis match, tennis champ and male chauvinist, Bobby Riggs, was beaten by women’s world champion, Billie Jean King.

F is for Fashion looked at designer clothing as more than just a fashion statement.

Included in this section were garments representing bold moves in fashion design, empowerment of women by fashion, special moments in the lives of women, and insight into the effort behind the garments.

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Moving into the next section, Things I Treasure, I almost felt like I was turning the pages of a personal journal as I looked at each item of clothing. Each piece told of the personal reasons behind why they were and are treasured. A dress which struck my eye in this section was a taffeta, velvet dress from 1949-51. The beautiful material, combined with the elegant form and pattern, topped off with a classy belt, had a story behind it that was just as impressive as the dress. It was the story of girl who, while trawling through her mother’s writing desk, found photographs of her grandmother enjoying afternoon tea at Buckingham Palace at request of Their Majesties.

As I moved through the exhibition it seemed to be set up in a way that places the more intimate stories

and pieces towards the end.

As you walk through the exhibition, this gives the effect of progressively moving into a more intimate space. Fittingly, the final section Love Stories was perhaps the most intimate section of the exhibition. It told of stories of betrayal, falling in love, picnics in the park, and cherished memories.

The experience of seeing ‘Dreaming of Chanel’ is not about the glitz, and glamour generally associated with fashion. It is an exhibition for the fashion conscious, the sentimental, or just the downright curious. These garments speak as much of the past owner of the dress, as they do of the intricate design, beautiful form and cheeky character of the clothing itself.

‘Dreaming of Chanel’ is at QUT art museum 26 August – 16 October.

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Masters and Slaves

- The Pets Battle Wade Townsend

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The sliding doors of the Griffith University Library open and the murmuring silence of studying students awkwardly makes itself heard, like a reply to a rhetorical question.

There’s an event or party of sorts in here, somewhere. They all must be hiding. I feel slightly lost until I spot the signs plastered about the entrance: “Friends of the Library: Masters and Slaves- The Pets Battle”. Jpeg arrows point the way and I trustingly follow their pixels.

After the mandatory registration of name, email and occupation (star signs and politics are best left in the cloakroom) I wander in, flicking through the pages of last year’s edition of Talent Implied , admiring the cover art and font, while not really taking in any of the words inside; that’s best left for later. Tonight is about listening to other people read. It’s a shame it’s not closer to bedtime.

Pink and yellow lights add a little colour to the glasses of chardonnay hovering around the room.

A three piece band is in one corner and the bassist’s mouth is wide open, gaping, swallowing his own low beats as they float through the air like lead balloons. Perhaps his voice will sound like Barry White by the end of the night.

I quickly realise I’m not the only one flicking through the pages of Talent Implied 2010. It appears to be the new mandatory behaviour within polite society. Some, obviously those who have been here longest, have abandoned their copies, some left like crumbs on the tables, others playing the part of coasters for their drinks.

There is a table of food to the left; my first port-ofcall as I ignore the booze. Both eastern and Mediterranean cuisine is present in the guise of sushi and olives (not together of course, Gordon Ramsay would have a fit, although I can’t see the Iron

Chefs minding so much). I glance over the spread.

The sushi is sitting remarkably still for something only half-dead. Olives and bread it is then.

After dropping a couple of olives and kicking them inconspicuously under a table I notice the university students are sitting in a circle. You can tell they’re students by the way they dress; a Griffith University jumper is the give-away, but it’s also hard not to notice the eclectic mix of hair and shoe styles.

Two pieces of bread and half a dozen dropped olives later it is time for the event to formally begin. Some formalities, laughs and the words that “Talent Implied is available at the Griffith University Book Store” (which I quickly note it down so I don’t forget to give the book a plug whenever I can) are briefly said before Sally Breen is introduced. Her novel, The Casuals, has been recently published by HarperCollins and there is certainly a bit of buzz about this (although later the buzz would be coming from the amplifier). She opens with a joke or two about cheap wine. Is it too ‘suburban’ on the Gold Coast to talk in terms of coffee (it’s the city where they drink coffee yes?

I’m sure I saw it on a television show once). Or perhaps it’s just the wrong time of day.

“How would a young surfer from Broadbeach

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view Tolstoy’s Anna Karenina? How does a student bouncer in a Gold Coast nightclub wrestle with Hemingway? Is it possible for a young poetess from Surfers Paradise to emerge from the shadow of Sylvia Plath?” Explains Sally. So this is what tonight is all about; although I can’t help feeling am slightly disappointed that the phrase ‘tackle Tolstoy’ wasn’t used.

After Sally finishes there is some more eating, drinking and talking before a short drum-roll signals the first reader is ready. The guitarist is smiling, probably enjoying the fact he’s now not the only one up for viewing pleasure tonight.

The first speaker emerges from the crowd. He’s the one holding a microphone, some sheets of white paper and possessing a look of slight awkwardness It’s going to be a casual affair; no podiums here, just shared floor space. He is tall, in a grey-green shirt and incredibly imposing.

“The poetry man, the poetry, get to the verse” He starts talking about poetry boarder control.

I’ve been through lots of airports and have never been quizzed on my knowledge of Milton or T.S. Eliot before; the questions only ever seem to be concerned with cash and cocaine. I would prefer more Milton.

“Get back to the fucking poetry”.

I stand thinking about how ‘fuck’ rhymes with so many more words than ‘poetry’ does; was the one string we added to the Greek lyre finding words to rhyme with ‘fuck’?

He is talking about someone or something in South America. Sadly I haven’t been. The closest I’ve got is San Diego and there isn’t so much revolution going on in its Mexican restaurants.

Distracted, I watch a young girl or woman of questionable age chewing gum, tangling it around her tongue. I wonder if she has been to South America.

The tall, green-grey shirt wearing student ends with a haunting refrain, which if only I knew how to spell it or what it meant, I would gladly write down.

Next up is a girl or woman (god I’m hopeless, I can never tell which) who has a classical look.

Perhaps she could have been Helen of Troy, but certainly would never be casted as her in a modern film adaptation of Homer’s epic.

A mock review follows. “…keeping the audience on the edge of their seats” she says and pauses. I notice I’m standing and without a seat.

There is a loud ‘sniff’. I’m not sure if it was written down; maybe it’s used instead of a ‘beat’?

Either way I hear a reviewer’s entire tosh and dribble echoing through that one sound.

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The critic gives three stars, obviously hedging their bets.

Some more eating, drinking and exchanges of pleasantries transpire before a short American girl (I think I heard her say she was from Colorado) takes the floor. Her work is just as short and sweet. It was poetically unquotable and cools the room down like someone turning the air-con on in a car that’s been in the sun too long.

The microphone is passed on.

“Silencio!” he shouts, ironically louder than anyone has spoken so far tonight.

Quickly we are placed in a Harry Potter sexual fantasy. Disappointingly Hermione isn’t present, but Harry seems to excite some of the crowd; “I solemnly swear that I’m up to no good”.

A few ‘swish and flick’ wand jokes tone down the scene, making it crudely amusing; the Potter lovers cannot help but laugh.

“Don’t wake me up, I’m fucking Harry Potter!”

Someone must have used the ‘coitus interruptus’ spell and it was time again for some more exchanging of words and wine.

I wander about, listening in on conversations while I nonchalantly eat some more olives (this time without dropping any).

“I saw that on Facebook!” a woman says with a smile that’s hiding a story somewhere.

I’m not sure what she saw, but it probably wasn’t the Masters and Slaves event. Only six were down as attending when I checked Facebook. There certainly seems to be more than six here. I’ve never trusted Facebook for facts anyway, only ever for gossip, but I guess they are much the muchness these days.

I take out my iPhone and check my own Facebook page. No new notifications. A ‘sad face’ emoticon passes through my mind.

After pocketing the phone I hear a more interesting conversation.

A couple of older women are talking to the American girl.

“Can I have the paper?”

She is still holding the words she had just finished reading from.

“Yeh, sure, I don’t need it anymore.”

The woman grabs hold of it, and turns to her friend, giggling far more than one would expect of someone that age.

“Can you sign it?”

“Sign it?”

“Yeh, for when you’re a famous writer.”

“Oh, sure, why not.”

There is more giggling. I can’t help thinking that maybe I should have got her to sign something for

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me too, just in case. Instead, I comfort myself with the knowledge that original manuscripts aren’t easy to sell and usually don’t make much more than signed first edition hardbacks. I will be ready with pen in hand should that day come.

Without preparation I unexpectedly find myself in conversation with tall guy in a pink shirt.

“I see you’re writing” I can’t hear him over his height and pink shirt.

“Sorry?” I wonder if he knew the lights would be pink.

“You’re writing things down” He has noticed my HB pencil and Moleskine notebook.

“Oh, yeh, just something for an article about tonight,” I reply.

We talk for a moment, but before we have time to venture down paths of philosophy and politics the sound of a drumroll interrupts us. Another student has the microphone.

“I really like her” the pink shirt says to me.

I’m not sure what he means be this and look expectantly at him for something more, but he just smiles and moves a metre to the left to get a better view, clutching his copy of Talent Implied to his chest.

“Shakespeare? Are you fucking serious?”

She has dark hair, covered by an even darker hat that flops down passed her eyes and ears. She even has a Gold Coast tan to match; perhaps she is the ‘Dark Lady’ Shakespeare’s Sonnets talked about.

She drops the paper to the ground; I half expect her to rub it into the ground like a used cigarette.

“Though this be madness, yet there is method in’t” Polonius being remarkably glib for a change.

She pauses. Is she preparing herself for the next exhaling of ‘fuck’ as there have been quite a few so far? No. She takes two steps across to a bar table, grabs hold of her wine glass and takes a swig; her mouth or nerves must have been dry.

After some lines about nunneries and comparing Voltaire to Vogue, it turns out her Romeo is gay and she therefore sensibly signs out with a final loud cry of “Fuck!”, although she used many more U’s in her pronunciation.

The last speaker takes the mic. with an unexpected confidence, even surprising himself.

He speaks out of the side of his mouth with a cadence and tone that would have made Raymond Chandler proud. It seems everyone is listening to him not for what he is saying but how he says it.

Words roll and fall, only to be caught at the last second. Where has my ‘pink shirt friend’ gone? I want to tell him I like this guy.

Our M.C. takes the podium once again. She

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congratulates the students, but the laughs and applauses have already done that. It was then back to the staple of wine jokes.

“The food’s all gone, but of course, there is plenty of wine left” There are writers coming, the caterers must have thought, fill their bellies with cheap wine, it’s where they get their courage from. It’s also a trait that the masters share with their slaves.

I presume all the wine was drunk, or would be drunk at a later date, but I didn’t stay long enough to know for sure. If there’s still some leftover, they can always save it for the launch of Talent Implied 2011. Now, where is my edition of Talent Implied 2010? It has to be somewhere. I didn’t leave it underneath someone’s glass of white, did I? Biographic Note: Wade Townsend is taller than his height suggests, chews passionfruit seeds and is more than capable of writing about himself in the third person for short paragraphs at a time. In his spare moments he learns some words, borrows some others and sticks them together with glue.

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~ Paris Wilson Tribute Night ~ Liana Turner

A crowd of young punters between the age of 15 and 18 gathered in memory of Paris Wilson and exchange student Cameron O’Neill-Mullin of St Kilda’s College on the Gold Coast on Saturday August 20. The two students, tragically killed in a boating accident on the Gold Coast in April, inspired VIBE Events to hold a youth music event to raise money for the Mater Children’s Hospital. The event, held at Expressive Ground in Tallebudgera, saw the likes of Australian Idol’s Mutto as well as a plethora of local musicians take the stage to showcase their talents in memory of the two students.

The drug and alcohol free evening was an excellent opportunity for young musical talents to put their abilities on display whilst effectively fundraising for a worthy cause. Paris’s younger sister Dodie was present for the night and bravely took to the stage to relive the trauma of the accident. Organiser Stephanie Kaleta and the other folk at VIBE Events intend to be organising many more such events in the future and believe it is inherently important to support young up-and-coming musicians and showcase their talents in an environment which is supportive yet safe for their young audiences. The next VIBE event will take place on Saturday, October 22 with acts and venue still to be announced. http://www.vibeeventsqld.com.au/ http://www.facebook.com/pages/VIBE Events/140610026004072

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ho

fintan ma

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Three Birds 20

Oil and Spray Paint on Linen

ouse of

agee's

giants What do you get when you cross a graffiti artist with a muralist in Brisbane? Well, some might say you get a vandalised mural, a very unhappy muralist, and a pleased graffiti artist. How about this: you get a curious mix of quick and efficient spray painting, with refined, technical skills and large scale works. Well, at least that’s what you get when Brisbane artist Fintan Magee is involved.

Magee was a graffiti artist, working primarily in spray paint, before he became a professional mural artist, applying the skills he learnt in secret, to very un-secretive legal street pieces. Now, instead of facing strict graffiti laws for using public walls and spaces as his canvas, Magee gets commissioned to turn a blank wall into an artwork.

Magee has already brought colour to various parts of Brisbane, including the

interior of some of Brisbane’s hip bars, restaurants and retail stores, as well as inner city walls and buildings. In a different context, Jugglers Art Space recently gave the local Brisbane public the chance to see an exhibition of Magee’s work without having to run all over town to see them. This exhibition, called House of Giants, included paintings created with oil and spray paint, digital prints and four large painted walls in the

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Jugglers Art Space courtyard.

The loose spray painted marks and drips in the artworks, combined with the carefully executed and refined oil painted lines and compositions create an iconic style, bringing street to the studio and studio to the street. The content of Magee’s works in this exhibition communicated messages about human consumption, our throw away society, and the environmental impact and issues associated with this.

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In Still Hungry, a spray and oil painting, ideas about human consumption and the environment are articulated using a clear visual language.

Here a bird of prey is sitting on a pile of rubbish protruding out of a dumpster, which includes a discarded and long forgotten ‘Big Bird’ toy. This well composed artwork gets the viewer thinking about the ravenous consumer culture that is never satisfied at the expense of the environment.

After walking through the exhibition space inside, I continued to the outdoor area where I was met with 3 large and impressively painted walls in the courtyard.

Letting no wall space go to waste, a fourth mural was painted above the roof.

This courtyard, a space that would not have been able to be included at most other galleries, allowed Magee to display his skills in his element instead of being confined to canvases and interior space.

A young girl (I can’t say little because quite frankly she was huge in scale) sitting amongst bags of rubbish and discarded toys was painted on one of the walls. This reflects a message about the way as adults we learn how to discard things, which results in things that were once valuable being lost and forgotten. This is an idea that Magee carried through the rest of the exhibition. In this artwork he captures the way children appreciate things that adults too hastily see as

rubbish and discard.

This, in a way, reflects the way street art is at times hastily dismissed as being rubbish rather than art. Still receiving worried looks from the public, and at times being frowned upon despite being commissioned to paint a public space, this is an issue Magee is familiar with. House of Giants allowed a space to appreciate this art form and the artistic skill and talent that goes into creating these artworks.

House of Giants’ was at Jugglers Art Space 26 August – 2 September.

Fintan Magee will also be featuring in ‘Contraband’ along with Anthony Jigalin, Clinton Cunningham, Georg Whelan, Guido Van Helten, Jake Reston, Rebecca Daynes, Sami Butel and Yannick Blattner at White Canvas Gallery from 9 September – 21 September.

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Chit Chat Corner with...

Evangeline Cachinero

Photo by Adam Erbacher

Ruth Dunn

Evangeline Cachinero is an artist living on the Sunshine Coast, working primarily in painting and using mixed media to create layered works. She recently started a project called ‘Art for My Rent’.

Evangeline, how did you first become interested in art?

I know it’s a bit cliché, but I was born interested. There’s photos of me wearing a bib that says ‘I am an artist’ when I was around two.

What influences play a major part in your work?

That’s a huge list of individuals and movements, but mainly I’m inspired by other people making stuff. Whether it was my abuela, my artist friends or the big artists. It’s hard to be surrounded by other creative people and not get inspired, especially since I’m always the kid that says “ooh, I wanna try that”.

What drove you to continue making art (aside from paying your rent in your latest project)?

It was the voices in my head (haha). No seriously, if paying the rent had anything to do with making art I would have quit a long time ago. Everybody knows the art business is a tough nut to crack. It was a calling. I don’t feel like I’m living life true to myself unless I’m making art.

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How has your art making changed and developed over time?

Oh man… my art changes all the time. I’ll admit I’m a fickle person. I change with the seasons and so does my art. Sticking to one style makes me feel like it’s a desk job so I like to continually re-invent and explore. The whole point for me is to be creative.

What does your art mean to you, and what do you want it to mean to other people?

Everybody has their thing that they’re good at and it’s important to do that thing in one’s community so that the community can flourish. Art is my thing, and you’ve got your thing. One thing inspires the next, and in this way we achieve a balanced community. So as for what it means to other people… I hope it’s just a part of life.

There is a blank canvas in front of you, what is the process behind turning this into an artwork?

First I take a pencil and a ruler and make some random marks. Then I put some white paint on with a palette knife. Here comes the fun part: I chuck it on the floor and pour all kinds of paint all over it, then stare at it as it basically paints itself. After that’s done, who knows where it will take me…

Where did you learn your artistic techniques?

I always had good teachers at school. My high school art teacher is still a good friend of mine and one of my biggest inspirations. After that, I went to a shitload of different universities that all taught different things. I’ve been a graphic designer for a long time now which has also taught me a lot about art. With all that, curiosity and play are my biggest teachers.

Let’s talk about your current project ‘Art for My Rent’. What is this project?

It’s a blog! I quit my day job and realized that I need to pay the rent, so I started a blog project where I try to sell a painting every week to cover the cost of my rent. I also write and vlog about my journey in the process.

For the last 3 and a half years you have been an art director for an advertising agency, and you quit to work on ‘Art for My Rent’.

Why did you make this decision?

I think the decision made me. I was already inching my way there, taking on less and less hours. It’s just something I had to do to make my life feel right again. I was stuck and unhappy, so something had to be done.

Where did the idea for this project come from?

I had an idea to cover rent by selling one painting for the same cost of my rent, so I wrote a blog post about it. That one sold instantly and then a friend suggested that I turn it into an entire blog. I did this in a couple of days, and people seemed really interested from the start.

What is the best thing about it?

I think people like the story. I’m being open and honest about my struggles and successes. Sometimes being an artist is rewarding, and sometimes it’s really hard work with no reward. I think other artists like to see that it may just be possible for them to do the same.

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What impact has this had on your life so far?

I feel better about my future and myself. Following your dreams is rewarding, even if it doesn’t work out. Every new achievement, every piece I sell, every nice comment I get puts a twinkle in my eye and gives me an overwhelming feeling that I did the right thing.

Have there been some unexpected results from it?

I seriously could not have anticipated the amount of support that I’m receiving. What really tugs at my heartstrings is hearing from other artists that say they are being inspired to do their own thing.

What is your method of creating artworks within this project?

I do have a plan. I’m working on canvases that are the right size to sell at $360, so when I run out of the ones I have stashed in the studio there will be new ones. I usually work on about 10-20 paintings at the same time because there is so much layering involved, which means there is always a painting on the brink of being finished.

Is there a common theme carried throughout the artworks?

I work in series. Each series has a common thread. For example my last series, Monobrow, had images of the Brisbane floods. Ah, figures! Yes, I like to paint & draw figures.

Have you ever had creative block? How did you overcome it?

Not really. Creating is an act. I don’t wait for inspiration to come hit me over the head – I make room for it. I set up a studio, collect images, set up canvases, and have the supplies ready. Some days I feel like drawing, some days I feel like painting, and other days I just feel like finishing off borders. Art is a discipline in every sense of the word.

You can check out Evangeline’s project ‘Art for My Rent’ here: www.artformyrent.com

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Chit Chat Corner with

Fintan Magee

Fintan Magee came from a graffiti background and is now a professional muralist. He has painted Brisbane bars, restaurants, retail stores, inner city walls and buildings, and recently exhibited at Jugglers Art Space.

You started out as a graffiti artist in your teens, what motivated you to become a graffiti artist?

I don’t know probably boredom more than anything, I have always enjoyed drawing since I was a kid and I have always had a mischievous streak so I guess graffiti was unavoidable.

How did you transform from a graffiti artist into a muralist?

I don’t feel that there is a huge difference between outside of legality and aesthetics. For me the progression was natural and generally pretty easy.

The move from illegal street art to becoming a commissioned artist is a controversial move in the eyes of a number of graffiti artists. What are your views on this transformation?

There are always going to be haters with opinions and the divisions between graffiti and street art are sometimes visible but most people support each other and keep it cool. I don’t really listen or care about the opinions of the weak minded.

Are there any particular artists who you look up to or who have influenced your work?

I think drawing influence from the right people is the most important

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Fintan Magee, Totem Pole. abandoned building, Brisbane.

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thing for any artist. Connor Harrington, David Choe, ROA, escif, Whiteley, The list goes on….

How has your artistic method developed since your teenage years?

I only used to use spray paint but these days I use anything I can acrylic, oils, spray paint, and found objects. I think things done entirely with spray paint look too polished so I always like to work with brushes to help add extra texture.

How have your ideas changed and what has influenced that?

I have moved away from letterforms lately so that I can start to look into new ideas and themes, I just found that I was hitting dead ends when I was writing and started to take more interest in street art, particularly the large scale mural works that are becoming common in Europe and the states right now.

What challenges did you face as a graffiti artist, and what challenges do you face now that you are being commissioned to do legal street art?

I guess the main challenge that I face in both forms is maintaining my practice, keeping myself supplied with materials, finding time to work, etc.

Do you think there is more freedom as a graffiti artist or as a legal street artist?

There is freedom and restrictions in both; they just come in different forms.

There seems to be unwillingness in Brisbane to accept street/graffiti artists as artists. Why do you think there is so much hostility towards street art in Brisbane, than in say Melbourne?

Brisbane and Queensland in general have had a long history of suppressing new or progressive cultural movements. The city has changed since the Joh bjelke Peterson period but it still is and probably always will be a cultural backwater.

But sometimes that is the city’s strength, I mean the city was incredibly suppressive towards the punk movement and we still produced The Saints.

How have you seen the acceptance of graffiti/street art in Brisbane change over the years you have been working?

It’s probably gone backwards. Our recent mayor Campbell Newman has invested a huge amount of money into Anti-graffiti propaganda campaigns and has removed a lot of graffiti and artworks. Brisbane city council has removed two of my works now without informing me. So it’s definitely getting harder.

Your exhibition ‘House of Giants’ will be opening at Jugglers Art Space later this month. What are the main ideas in this collection of works?

I guess I wanted to showcase my large-scale works and my studio work as well so Jugglers was perfect. The main ideas are open to interpretation I will leave it at that.

There is a significant difference between exhibiting in a gallery and exhibiting on buildings or in the street. What are the pros and cons of each exhibition space and how does it affect your work?

I guess the audience is the biggest difference, I also like to painting outdoors as I hate being stuck in my studio for too long.

What are your artistic plans for the future?

Get out of Australia; I love to travel so the more often I get to jump ship the better.

‘House of Giants’ was at Jugglers Art Space 26 August – 2 September.

Fintan Magee will also be featuring in ‘Contraband’ along with Anthony Jigalin, Clinton Cunningham, Georg Whelan, Guido Van Helten, Jake Reston, Rebecca Daynes, Sami Butel and Yannick Blattner at White Canvas Gallery from 9 September – 21 September.

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tricking Tricking is becoming an increasingly prominent sport across Australia and, in fact, the world. What on Earth is it, I hear you ask? I spoke to Tricking Australia founder Adam Rankine to find out.

Firstly, sum up what Tricking is for the readers who may have no idea what we’re on about.

Compared to other sports, Tricking is a relatively new underground sport combining martial arts, break dancing, gymnastics and other acrobatic disciplines into an aesthetic blend of kicks, flips, and twists. It’s starting to become more and more popular, being featured in movies such as Scott Pilgrim vs. The World, Tron Legacy and Chris Brown’s Yeah 3x music video, just to name a few. A variety of moves are incorporated in Tricking, such as flips and tumbling from Gymnastics, the 540 kick from Taekwondo, the butterfly twist from Wushu and the doubleleg from Capoeira.

People seeing Tricking for the first time often confuse it with the Brazilian martial art of Capoeira. While Tricking is not Capoeira, some trickers do use moves from this form of martial arts to add style and flow into their trick combinations.

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How long have you been into tricking? How did you first get involved?

I first heard of Tricking in 2005, but never tried it until about 2009. What got me into Tricking was a video of a very famous American tricker by the name of Anis Cheurfa (He plays Rinzler in Tron Legacy) and I was instantly hooked.

Shortly after that I had the pleasure to meet some of Australia’s best trickers such as Scotty Skelton, Phil Gibbs and John McLay. I’ve been tricking ever since.

What gave you the idea to form Tricking Australia? When did it first begin?

I’ve toyed with the idea of building a website for Tricking within Australia for about a year or so now, but I didn’t do anything about it until May this year. What inspired me the most was a friend of mine, James Daly, and his success after he launched Australia’s first ever Tricking apparel company called Invincible Tricking. Not only that but Tricking has really started to boom in Australia recently, and I felt that Australians needed some resources created especially for them and to help promote the sport.

Tricking Australia has recently had a lot of coverage from the media. How does all the attention impact upon yourself and the wider Tricking community?

The media coverage is great! Tricking Australia was recently featured in a full page article in the Gold Coast Bulletin and the feedback from it was amazing! A lot of trickers have even been approached to do performances and commercials which is great exposure for not only the trickers themselves, but also for the community. The attention is great for training, a lot more people seem to be more curious about Tricking now and it’s really great to see new people wanting to learn. I’m not sure what it is about them, but every tricker I have ever met is incredibly friendly and has no problem with helping out people new to the sport.

How often do you train?

Tricking is an amazing sport, in the fact that you can practice it everywhere. In gymnastic venues, on grass, down at the beach, in martial arts dojos, in dance studios, and some tricker’s even practice on concrete! I myself practice tricking 2-3 times a week, but I know people who practice it nearly every day.

Australian Tricking Gatherings have been running every year since 2007, correct? Are these events noticeably growing over time?

The first official Australian Tricking Gathering (ATG) was held in 2007, but trickers had been travelling across the country to meet up with other like-minded people earlier than that. I don’t think there’s been an ATG where the participants attending had been less than the year before. In 2010 there was about 100 plus trickers gathered in Sydney, and this year in 2011 there was over 150 people gathered in Brisbane. Next year I expect there to be at least 200, easy.

It’s such a great feeling to meet so many people passionate about the same thing you are, and ATG is getting bigger and better every year, which is amazing.

Do you feel it’s a positive thing for trickers from across the Australia unite like that? How do ATGs impact upon the overall interest and passion for tricking?

It’s definitely a positive experience for trickers. My first ATG was in 2010 and it was one of the best things I have ever done. I got to train with the best trickers Australia has to offer, and I got to make heaps of new friends in the process.

It’s great for people new to the sport because as tricking isn’t a mainstream sport there’s not a lot of places where you can go to learn in a structured class, a lot of your training as a tricker is self taught, from other trickers or from online tutorials. ATG is great in the sense that you have the chance to have one on one training and get advice from not only some of Australia’s best, but some of the world’s best trickers.

What advice would you give to anyone keen to get involved with tricking?

Get out there and give it a go, you won’t regret it! Try and find some people close to where you live and go train with them, see first-hand what tricking is like. There’s no other feeling in the world like landing a new trick. You can easily find trickers or places to trick near you on the Tricking Australia website or on Facebook. http://www.facebook.com/trickingaustralia http://trickingaustralia.com.au/

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SEE! Art Some of the srtwork featured in the exhibition.

(By Tim Freeman)

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t Show Young designers / artists Maria Nilsson, Diva Cory and Kat Charles hosted the modern art exhibition SEE! Art Show in a quint building in the industrial estate of Byron Bay last month.

They same the aim of the night was to ‘bring awareness to how beautiful the earth is’’.

Hosting over 20 local artists, film makers and designer’s work, the anticipated event was a big success with over 200 people RSVPing and an estimated 500 people attending.

Artworks were stacked from floor to ceiling in every space of the small building. There was a huge variety of works from illustrations, photography, paintings, mixed media, fashion, movies and more. Notable artists included Art Park and Critical Slide Society.

A number of singers and bands entertained the crowd as they circled the room, examining the artworks or projected film.

A great night was had by all. The girls are hosting more events to come so Raw Ink will keeping you up to date.

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SemiPermanent Semi Review

2011 Written by Roxy Coppen

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Once again the remarkable SemiPermanent phenomenon came to Brisbane on the 5th of August, 2011. These global creative conferences bring in people to discuss all aspects of design. Graphic design, photography, visual effects, animations, graffiti, motion graphics, film, fine art, illustration, web design, interaction design, and architecture are just some of the topics discussed.

Having attended the 2010 Brisbane Semi-Permanent with such speakers as Alexia Sinclair and Jasper Goodall, I had high expectations for 2011. You need not worry though readers, I was not disappointed by this year’s eight speakers.

Sitting down in the crowd waiting for the event to start, we were greeted by a graphic animation introduction made by one of the day’s speakers, Supervixen.

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O’Bri Gemma First speaker up was

GEMMA O’BRIEN,

a Sydney based typographer. She was full of passion and excitement and was definitely my favourite speaker of the day.

Gemma studied Communication Design at the Queensland College of Art, which ironically was not far from where we were today. She found her love for type after university and started an online blog where she posted her experiments of creating tactile typography. This led her to a variety of jobs including working for the New York Times, speaking at a Typography conference in Germany, a Canon ad, designing Bob Hawk’s 80’s (80th?) birthday card and many more. She eventually started working for a studio who nominated her to create the new Playschool title sequence.

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Leach Sam

SAM LEACH preceded Gemma. A

Melbourne based artist, his paintings explore the scientific, cultural and social questions of society.

These tendencies are expressed clearly in the question he poses on his website:, ‘Can painted images be used to deepen our understanding of how the history of modern science has changed relationships between humans and the nonhuman world?’ In 2010 he won the Archibald prize for his painting of Tim Minchin, as well as winning the Wynne prize for his painting ‘Proposal for landscaped cosmos’.

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Proposal for landscaped cosmos by Sam Leach

Crocodile Reflection by Sam Leach

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Eddie

Zammitt

EDDIE ZAMMIT from T-WORLD, a man who is engrossed Next up was

in the world of t-shirts. He’s a creative who has started a design studio, founded T-World (the only journal in the world about T-shirts), designs his own T-shirt graphics and has held T-shirt parties all over the world! He claims to own over 2,000 t-shirts and sorts them by colour and artist. He travelled to America to research for the next edition of T-world, which now has a new format and design direction and is in the process of being published. He had a great line for the day relating to design: ‘Quality, speed or cheap. Pick any two.’ He was a cruisy enjoyable speaker.

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KELLY THOMPSON

was on next, a woman who looked like she had just stepped out of one of her own illustrations. She studied a Bachelor of Design majoring in Photography and went on to explain that in the early stages of her career she did a lot of photography for modelling agencies and magazines. She built up her skills as an illustrator and now works on creating images with a combination of illustration and photography.

Her artworks were elegant and fascinating, I left wanting to extend my own illustration skills. After the conference a friend and I found her and asked if she could sign our books - she was very happy to do so and was interested to know what our professions were and what we wanted to do.

Thom Kelly 44

mpson 45

Dixon Toby

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The first speaker after the lunch break was , The first speaker after the lunch break was TOBY DIXON, a photographer based in Melbourne who specialises in portraiture and landscapes. He won a photography competition which gave him the reputation he needed to excel at his career. He told us of a few of his adventures while taking photos, and how he had a real interest in finding out about the person in front of the camera.

I remember him with his great quote, ‘Shoot what you’re passionate about’.

TOBY DIXON

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YourKids We Buy

SONNY and BIDDY make up an illustrator and designer team called WE BUY YOUR KIDS. The majority of their work are gig posters, which

they illustrate and then screen print. They’ve also participated in exhibitions in galleries such as Monster Children, Mart and MTV, and have been commissioned to illustrate for Business Week, Rolling Stone Australia, New York Times and Wired USA. They had some funny stories to tell and were very exciting to listen to.

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MORTEN and DANIEL, co founders of SUPERVIXEN,

were next to the stand. Supervixen works on motion design, illustration, art direction and many more. Some projects they have worked on include the Extra chewing gum ad with the food characters, Toyota ads, Bridgstone, Canon, Nissan, and my personal favourite the ending title sequence for Tomorrow When the War Began. I had personally admired these well before I knew about Supervixen.

Morten and Daniel have also done illustration work for Elan Skateboards and a few lucky audience members got to take home an actual deck. Their animations and concepts were truly fascinating and awe-inspiring.

Last, but most certainly not least, was

Supervixen

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Mo

REG MOMBASSA, a man who had made his name in music and art. He

took us through a few of his artworks and the stories and ideas behind them, making for a cracker of a talk. His controversial yet interesting works were fascinating to see and his well known style of art significant in each piece. Amongst other things he’s made art for book covers, album covers, and t-shirts.

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Reg

ombassa

g

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Overall, this year’s Semi-Permanent was a fantastic experience. My friends and myself enjoyed every single speaker and we all left feeling very inspired and entrepreneurial. The first thing most people said after we left the auditorium, was

‘I can’t wait for next year!’

Supervixen’s SP Video: http://vimeo.com/23568058 Gemma O’Brien’s Site: www.fortheloveoftype.com Playschool title sequence: http://tiny.cc/playschool2011 Sam Leach’s Site:: www.samleach.net Eddie Zammit’s Site: www.t-world.com.au A look at the T-World New York Issue: http://vimeo.com/27940236 Kelly Thompson’s Site: www.kellythompson.co.nz Toby Dixon’s Site: www.tobydixon.com We Buy Your Kids Site: www.wbyk.com.au Supervixen’s Site: www.supervixen.net Reg Mombassa’s Site: www.regmombassa.com 54

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Peter Godwin: A Long Time Coming Ruth Dunn

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Studio study I (Barking owl on cabinet) 2010 egg tempera on hemp on marine ply

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Owl with spirit mask I, 2010 Egg tempera on hemp on marine ply

Densely over-painted surfaces, well balanced composition and colours, and fascinating textural effects make up the artworks in the Peter Godwin exhibition currently at Philip Bacon Gallery, Fortitude Valley. This exhibition marks Godwin’s first outside of Sydney, a surprising fact considering the amazing qualities of his artworks.

The subject matter of the current exhibition is still lifes and interiors, often including artifacts from the New Guinea Highlands, such as Kwoma cult figures and Mendi shields. This harks back to the

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interest early modernists, such as Picasso, had in tribal art.

These tribal objects, placed carefully in Godwin’s artworks, create an eerie and strange presence which contrasts with the domestic interiors. Godwin is perhaps using these tribal objects to bring into the tame domestic space of the studio, an untamed, primal presence which demands attention as its watchful, white eyes cut through the dark surrounds of the artwork.

As well as creating intriguing subject matter, Godwin achieves a unique textural

effect by using egg tempera on hemp on marine ply. Made from a mixture of gouache pigments and the yolk of an egg, egg tempera has fast drying properties which allow Godwin to quickly apply layer after layer. In many of his works, the artist uses loose gestural brushstrokes, and large block painted areas, which are scratched into and around to define details and shapes, and reveal the layers underneath.

Though his works are made up of multiple layers, built up by over-painting, the overall composition and spatial quali-

ties of the artworks are flat. We are simultaneously welcomed into his studio interiors, and kept from entering them. The gestural brushstrokes and drops of paint in such works as Studio Study I (Barking Owl on Cabinet) welcome us into the studio by allowing us to ‘see’ the artist’s process and act of painting. However, due to the flatness of the picture plane, we are forced to remain as spectators outside the studio space.

objects in the artworks. The surrounding furniture, i.e. cupboards, tables, chairs, and curtains, are treated with minimal detail, but when it comes to painting the objects on the table, such as paint bottles, paintbrushes, palettes and various statues, Godwin seems to pay extra attention to details. Godwin focuses on those objects he has formed a close, long-term connection to, giving them a special place within his artworks.

The bold lines and blocks of colour, contrast with the intricate details of the various

It took 6 years of persuasion for his art dealer to convince him to hold an exhibition,

and 10 years for Godwin to exhibit outside of Sydney, but Brisbane has finally had the opportunity to see these dark and expressive artworks firsthand. Godwin’s artworks are full of intrigue and unique beauty and it is no wonder he has been described as a ‘force in Australian art’ (John McDonald 2009).

Peter Godwin is showing at Philip Bacon Galleries 23 August – 17 September.

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The Great Banana Barn Dance Liana Turner

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The words “banana” and “barn dance” used in the same sentence probably provokes a vision of gin-drinking banana farmers gathered in a shed, doing the “heel-and-toe”. To me, this creates rather unsettling recollections of primary school days, where we were conscripted on a regular basis to the “joys” of barn-dancing.

The Great Banana Barn Dance, however, was far removed from such atrocities. Held at Condong Bowls Club on Saturday August 13, the event saw young up-and-coming bands from Byron to the Gold Coast united for a collaborative music event held in conjunction with Muwillumbah’s annual Banana Festival. The likes of T.O.U.C.H, Death by Dance and Exiles to name a few gathered to showcase their diverse talents.

Organiser James Doyle of Severe Noise Entertainment feels the night was a success.

“It’s my goal to let everyone and anyone have a go,” he says. “It’s not about money to me, or numbers or anything like that. It’s just about everyone having somewhere to play without the hassles of pub managers and club owners telling them what they can and cannot do.” Doyle believes that while competition is obviously a big part of the music industry, it had no significant place at this event. “There is no competition at all,” he says, “It’s nice to see the bands acknowledged for their efforts and have a few people show up. Sometimes we pull really big crowds at those gigs which is great… but that’s not really even the point. It’s more about just having somewhere to play, which can be impossible at times if you are an artist trying to do something that is a bit different .”

Keep up to date with future events by liking Severe Noise Entertainment’s Facebook page: http://www.facebook.com/pages/ Severe-Noise-Entertainment/2052745961784 84?sk=info

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Exiles with Liana Turner

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Murwillumbah Heavy Metal/Deathcore band Exiles formed in November 2010 and since then have developed a distinguished sound. The five-piece have so far released a demo record, and will soon celebrate the release of their debut EP. Liana Turner interviewed Bassist Rimas Veselis to discuss the past, present and future of the band.

Describe your sound in two words.

Energetic, different.

You have a pretty distinctive sound, despite the fact you’re a relatively young band. Has it been difficult to achieve this sound?

From the outset we have wanted to be a band that sounds different from the current cookie cutter pop bands that have surfaced in the past few years. As individuals we have been influenced by many different genres including hardcore-punk, funk, jazz fusion and alternative rock growing up. This distinctive sound which is Deathcore has grown from being fairly underground to now becoming pretty mainstream in the past few years. Achieving the sound was the result of our past musical experiences crossed with current bands that we now enjoy to create something that’s full of energy and is just fun to play.

You guys are currently working on your debut EP. How do you feel its release will impact your image as a band?

Yes we are nearly finished our debut E.P, which has been recorded at Glory Bound Sound studios over the last couple of weeks. All the guitars and drums are done and Ryan is starting vocals very soon! At this stage the E.P will be released for free through our Facebook page and physical copies will be available at shows. If this EP can gain us a handful of fans who haven’t listened to our music before we will be ecstatic!

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Exiles featured on the lineup of the “Great Banana Barn Dance” at Condong Bowls Club in August. How important are collaborative shows such as this one to the success of up and coming local bands?

It feels awesome…giving local bands the chance to play some all ages shows in the Tweed. These shows are so important for the development of up and coming bands around the shire; full credit to James Doyle from Severe Noise Entertainment for organising the show and wanting to give bands like us the chance to play some local shows. In and around the Tweed shire there is a real lack of venues where underage bands can play.

What does the future hold for Exiles? What’s in store for the rest of 2011?

The future for Exiles is definitely positive I hope! We will be releasing the EP around the start of September and hopefully will be playing heaps of shows all around the place in between Ryan’s studies. We are always keen for shows anywhere and anytime! Get at us on Facebook if you want us to play a show, party, funeral, bar mitzvah anything!

What advice would you give to other young musicians hoping to find a career in the music industry?

Practice, practice and more practice!

Source out other musicians, make bands and the most important thing is to just enjoy every minute of it!

Exiles Facebook Page: www.facebook.com/exileshc Severe Noise Entertainment: http://www.facebook.com/pages/SevereNoise-Entertainment/205274596178484

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o S o t e r o c l a Met Liana Turner

Gold Coast five-piece metalcore band Knights Like These believe a cohesive sound is far more important than pretty T-shirts and smothering advertisement. Liana Turner spoke to guitarist Rory Green to discuss their sound and overall outlooks.

Describe your sound in four words.

Positive, uplifting, honourable, guiding.

How and when did Knights Like These first form? How have you worked on developing your sound in the time you’ve been together?

Technically we only established our strongest lineup early this year…but in the beginning of 2009 a group of us (Rory, martin and former bass player Ryan) used to sit and drink around a round table that was at Rory’s. Every weekend we’d judge the world of its comings and goings until we realised, that kind of negativity got us nowhere and that positive energy would be our new strength, and The band Knights Like these would be our vessel.

Your Facebook fan page states “Knights Like These aren’t trying to break down barriers and push the envelope of what hardcore/metal is today, they’re simply trying to deliver the genre in such a way that they think is lacking in today’s cookie cutter band world”. Tell me, how do you intend to do this?

During the last decade there has been an explosion in the amount of metal and hardcore bands and the territory between the two genres has become pretty intertwined…but we’ve got nothing to

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prove, and we’re not striving to just emulate a certain genre, we just want to create music that’s personal and be a band that people see as mates. We’re not here to spread negativity, we just want an energetic and uplifting outlook in our music and shows.

Who/what would you say your biggest inspirations are as a group?

Every member tends to bring their own personal touches to the group so our inspirations come from all over.

How do shows like Condong’s “Great Banana Barn Dance” affect you in terms of public image and really getting your name out there?

Do you feel such collaborative gigs are an important part of the local music scene?

Last year’s Banana Festival show gave us a huge boost in both our confidence and following. We want to try and head south more (being located on the Tweed Coast) because we feel that the people aren’t as spoilt with shows and bands; a new band pops up every week between here and Brisbane, and just as many disband. We enjoy these collaborative shows far more than playing with a bunch bands from our scene. The kind of music we play is actually a very small part of our lives and repertoire now as we mature, but it is still the most passionate tool or genre we choose to use. So we love the fact we have been included in a lineup with bands that are obviously very talented and with true musicianship.

What does the future hold for Knights Like These?

In terms of the music the really noticeable area we seem to be progressing in is our song writing. We’ve sorted our band’s “tone” out and

l u o S e h t e h t oo we’re really branching out into things that “don’t belong in this genre”. We’re trying to harness that passion and ability to confront that the hardcore/metal genres’ offer and make it cleaner to share with a wider variety of people. We trying to make it uplifting rather than chucking tantrums about irrelevant issues. In terms of the band... we intend to chill harder than ever before.

How did the release of your 2010 EP “Barriers” impact upon your public image as a band?

It definitely put our name out in the local scene. It was only ever meant to be a demo, but the recording quality turned out to be way better than we expected thanks to our

close friend Sid Constantine who recorded us in his home studio, so we polished it more to the point of being an EP release.

The response we still get from that EP is that we definitely established our sound early, rather than having promo photos and merchandise ready for sale before we’ve even played a show. We are known for our sound, and hopefully our upcoming full length due for release before the year is out will solidify that.

What advice would you give to other young musicians hoping to find a career in the music industry?

Don’t... haha. Music is something you will enjoy your whole life, and enjoying it is all that matters. If you are found to be talented, doors will open.

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In our next issue...

Ruth talks to Rachel Burke, a Brisbane gal who makes a dress a day for a year to help charity and Liana chats to this year’s Archibald Prize winner, Ben Quilty.

Remember to LIKE us on Facebook to keep up to date with what we’re doing and when we’ll be publishing.

If you’d like to find out more about Raw Ink Magazine, or If you’d like to advertise your creative event free of charge, head on over to: www.rawinkmagazine.com Or send us an email to: roxy@rawinkmagazine.com

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