Issue 22 - Art

About Us

Salient is published by, but remains editorially independent from, the Victoria University of Wellington Students’ Association (VUWSA). Salient is funded in part by VUWSA through the Student Services Levy. Salient is a member of the Aotearoa Student Press Association (ASPA).

The views expressed in Salient do not necessarily reflect those of the Editor, VUWSA, or the University.

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Practising Creativity As An Adult EDITORIAL

Pablo Picasso once said: “Every child is an artist. The problem is how to remain an artist once he grows up.”

It’s time to be artistic again. For some, that might mean signing up to that life drawing class; for others, buying an infamous adult colouring book. But for all, you can read this art issue of Salient.

Kia ora, my name is Alice Brown and I am Salient’s Designer. This week Janhavi was kind enough to let me co-edit our Art Issue which is all about reclaiming creativity through visual art.

As children, we are fiercely encouraged to draw, both at home and in school. But as we emerge into adulthood, our artistic capabilities are left behind. In an area plagued by productivity and perfectionism, visual arts are not prioritised. Not only is art an act of rebellion and self expression, but it’s generally great for you.

Research proves creativity is great for the brain. Engaging in creative activities enriches people’s psychological states, improving quality of life and wellbeing. Being artistic and exercising your creativity also manages stress levels, soothes the body, and releases dopamine.

But we are far too quick to judge our own art. Being creative isn’t about making something worthy of selling on Etsy, it’s about feeling good and relieving stress. Making creative decisions and relaxing into it is far more important than producing a product or tangible outcome. Contrary to popular belief, artistic capability isn’t something we are born with, it’s a learnt skill. I sure as hell didn’t come out of the womb with the ability to illustrate for Salient. There are still times when my art looks shit after over 20 years of practice, so it’s expected yours will too.

Creativity isn’t something you have to experience alone. It can be a great tool for socialising and meeting new people. There are plenty of creative events that can be found easily on the Facebook events tab. Sign yourself up to a paint and sip night, or take your hot Tinder date to the art gallery.

Although this issue is focused on visual arts, there are many different ways to tap into your creativity. Try checking out a local gig, arranging flowers you find on the roadside, dancing, completing a Salient sudoku (see page 40), or jotting down a poem or two between classes.

A note for neurodiverse individuals:

Using creative tools is even more beneficial for our active mines. It only takes a quick Google to find endless studies concluding that the act of creativity is great for our inhibitory control; the ability to control our behaviour, emotions, and cognitions in order to adapt to our natural and social environment. One study (Whitea & Shahb, 2006), found that people with ADHD out-performed neurotypical people in this area. So enjoy this win.

In our features: Lauren delves into the romance and drama behind some of the world’s most famous surrealists, Zoe investigates tattoo culture in Pōneke, Maia interviews a local art collective, and I give you the rundown on zines.

Jump on in and reclaim your creativity.

Ngā manaakitanga, Alice Brown (she/her)

www.salient.org.nz3

Stafford House Breaches Residential Tenancies Act Six

TimesWords by Beth Mountford (she/her)

Tenancy Compliance and Investigations (TCIT) have found Stafford House, managed by UniLodge, to be in breach of six sections of the Residential Tenancies Act 1986 (RTA), following an investigation from VUWSA.

Stafford House has failed to meet sections of the RTA for the following reasons: not having a fixed heater in the main living room of each apartment, requiring key money, requiring a non-refundable administration fee (considered as a letting fee by the Act), lacking facilities to prepare and cook food in each apartment, requiring tenants to pay more than two weeks rent in advance, and contravening or evading provisions of the Act.

Stafford House has now been issued with an Improvement Notice by the Ministry of Business, Innovation and Employment.

The non-compliance comes after Victoria University of Wellington’s agreement with Stafford House ended on 31 December 2021, changing the standards which they are held to and requiring them to comply with the RTA.

Any student accommodation that has a signed agreement with a tertiary provider can be exempt from the RTA. As such, Stafford House was only considered non-compliant after their agreement with VUW ended and management moved from VUW to UniLodge. Stafford House is in the same condition it’s always been in. But only now that it is required to abide by the RTA are its conditions illegal.

A VUW spokesperson stated that “the decision not to extend the university’s arrangements with UniLodge regarding Stafford House was due to the considerable uncertainty around international student numbers arising from the impact of Covid-19. Stafford House is mainly configured of studio apartments with minimal social spaces, so is not suitable as first year accommodation.”

While the university has no agreement with Stafford House for 2022, many VUW students still reside there.

VUWSA have stated that they are “astounded by the number of breaches that have occurred with Stafford”, saying that “this is the most recent of a long list of

issues with Stafford House in recent years. We never felt Stafford House was fit for purpose for students, and the improvement notice from the Ministry proves our concerns to be true.”

They said that students “may be due thousands of dollars in compensation as a direct result of Stafford House breaching the Residential Tenancy Act.” Students who “need help or want to understand their rights” are encouraged to reach out to VUWSA advocates.

Laura Drew, a housing lawyer at Community Law, says that it is standard for university halls of residence to be exempt from the RTA. In lieu of these regulations, university accommodation providers must “provide services over and above those of what a landlord would usually provide under the Residential Tenancies Act.”

She says this includes “house rules designed to foster personal development, encourage a sense of community and association with fellow students.”

As the same exemption from the RTA applies also to transitional and emergency housing, Community Law have seen “large groups of vulnerable people are being excluded from the Residential Tenancies Act”, and have questioned “whether that’s wise”.

Laura Roberts, the area general manager for UniLodge has said “we take RTA compliance seriously and will clarify and/or address any items raised by the relevant statutory authority. We expect any outstanding items will be closed out in the near future.”

Inflationary Food Prices Take A Bite Out Of Students’ Wallets

Words by Azaria Howell (she/her)

The rising cost of living has hit campus food vendors. External pressures such as the war in Ukraine and the Covid-19 pandemic have caused supply chain issues, pushing up prices.

One student told Salient that the “Kelburn tax” had impacted their ability to buy food on campus, as “prices keep going up”.

Daniel, a manager at The Lab, told Salient that supply issues had meant “loads of things have gone up [in price]. From coffee beans to greens.” He said “a medium flat white used to cost maybe $3.50 about five years ago at The Lab, whereas now it’s $4.80$5.” Daniel added that the cafe were “not about to charge students the massive mark-ups you would see elsewhere, so inflation wouldn’t be quite as noticeable at Pip[itea] or Kelburn.”

Louis’ cafe is known for having the cheapest coffee and the “best-value food” on campus. Despite this, Rosh from Louis’ cafe told Salient they “had to put up some of the prices”.

To Rosh, the best-value food means “if you’ve only got $5, you can get something to eat”, adding that Louis’ had special deals such as a coffee and slice combo for $8.

Rosh added that Louis’ were committed to bargain prices which would provide relief to struggling students. They also added that when Louis’ closes for the day, the cafe usually gives free food that is left over “so any students can help themselves to it”.

The owner of Vic Books agreed that costs have gone up significantly, stating “most suppliers [prices] are up by 20%”.

They added that inflation means the cafe “has to watch our margins constantly”. The on-campus business model has also caused difficulty for the café. Vic Books’ owner stated: “It’s really hard to make money in a business that is so seasonal because we literally have three months [over the summer period] where we have hardly any income.”

Vic Books also stated that “wages had gone up” to assist workers.

Supply issues had briefly caused The Hunter Lounge to remove curly fries from the menu in a move they called a “potato shortage”. Curly fries are now back on the menu with a side of inflation.

Most notably impacted by rising costs, the price of Krishna Food has increased. Their iconic $6 Krishna Plate increased to $8.

One student commented on the Facebook page VuW: Meaningful Confessions, emotional about the price increase at Krishna Food. “The once $6 plates fuelled many a study session and I’m sad to see that era has come to an end.”

Another student mentioned it was “hypokrishnacal” (a portmanteau of hypocritical and Krishna) that the restaurant were complaining about the pandemic being “so hard on small businesses” as they were allegedly seen giving out food for free at the antimandate protests.

Krishna Food did not respond to our request for comment.

OPINION: Weir House Residents Deserve Better

Words by Noah Hunt (he/him)

Halls of residence: the most anticipated and exciting part of a fresher’s journey to university. A place to meet new people, to build connections, to party. But in 2022, one VUW hall felt more like a backpacker hostel under construction.

Weir House is one of the oldest VUW halls. The glorious-looking hall is part of a complex made of three separate buildings: William Weir (the main building), Andrea Brander, and Te Whanau. At its peak, I bet this place would have felt like a luxury, down the road from the Botanic Gardens.

We were misled. Using the Wayback Machine, an online tool that allows you to see older versions of a website, I confirmed that the university website displayed no discussion of any construction or disruptions for future residents at the time we were applying. The earliest correspondence we received about construction work was on 31 January, past the date most people had paid their bond and less than a month before moving in.

We were warned our dining hall would be unavailable when we arrived, which was understandable. However, we ended up eating meals in takeaway packs out of a tent that were unsubstantial, undercooked, and cold. We were told that this was going to be the case for the first three weeks, but it was like this for over a month. Residents understood that circumstances can change, but the university should not have made a promise it couldn’t keep.

In Andrea Brander house, it’s been reported that two residents were hospitalised for respiratory-related problems because of how mouldy the building was. There is a buildup of large amounts of mould inside, and the building has eaky rooms and windows. Many residents have had to place a bucket by their window to catch the water leaking through. The university said they are “continuing to engage with Andrea Brander House residents”, but no specific compensation has been offered as of yet.

Overtime, construction problems became worse, with reports of residents having windows sealed open or shut with paint. A resident with Covid-19 had their windows sealed shut with no ventilation for the first three days of infection. Some students would wake up to workers at their windows. Some even said that workers would reach into their rooms when they were in bed to close their window. This is a breach of privacy for many, and also raises questions about the health and safety considerations of the university towards students.

Earlier in this year, all Weir residents received compensation equal to one week of rent, which most found did not fully compensate for what we had experienced. As part of the compensation, the university also paid for our Hall Ball tickets. This came as a surprise, as many residents assumed the ball costs would be covered by the hall activity fee we had already paid.

VUWSA is currently working alongside William Weir’s residents to come up with a new compensatory figure, which they will put forward to Campus Operations for consideration. But whatever compensation they receive will only be offered to William Weir residents.

This is unacceptable. William Weir is not the only wing that has had to deal with the issues, and Andrea Brander has taken the worst of it. I am calling on Rainsforth Dix and the university to adequately compensate all residents for the disruptions and provide support and further compensation to residents of the Andrea Brander building.

Photo: Weir House, Source: NZ Herald

Headline Junkie:

Words by Ethan Manera (he/him)

Fans Furious After Ed Sheeran Scraps Wellington Concert

Due to “ongoing uncertainties”, infamous Yorkshire heart-throb Edward Christopher Sheeran has cancelled his upcoming “+ - = ÷ x” show in Pōneke. As the tragic news broke, upset fans foamed at the mouth, with some taking to social media to express their disappointment at the ginger songbird. One fan said they’re “pissed off” after purchasing “front row [tickets] for my daughter” and another accused Mr Sheeran of “greed at its worst”.

NZ Banks Raking in Profits Despite Economic Uncertainty

While students and low-income Kiwis grapple with a crushing cost of living crisis, we can sleep comfortably knowing our largest banks are safely pocketing record profits. The financial industry is laughing all the way to the bank reporting a total sector increase of 19% since last year which economists suspect translates to a casual $10 billion. Australian banking companies ANZ, BNZ, ASB, and Westpac are each raking in the most respectively, with humble Aotearoa-based Kiwibank taking the place of fifth largest bank in the country.

Jojo Siwa Reprimanded for Regrettable Royal Blunder

Former Dance Moms icon Jojo Siwa has been embroiled in a feeble online beat-up after posting a TikTok video wherein fans have accused Siwa of joking about the Queen’s death. The TikTok, which emassed ten million views, shows Siwa playing into the online conspiracy theory of Queen Elizabeth’s reincarnation as online star Trisha Paytas’ baby. Fans commented that the joke was “disrespectful” and “too soon”, but Siwa soon cleared up the confusion by commenting that the video was merely commentary on internet culture, saying “how did the queens passing turn into this” [sic].

A Bite-Sized Look Into the Big Stories

Bizarre Kelburn Vending Machine (Almost) Rips Off Student

A VUW student was left feeling “embarrassed” after purchasing a butter chicken meal from a Hub vending machine that became lodged, causing a ten minute ordeal. The student’s $7 meal was trapped just above the machine’s opening, leaving them to use all manner of tools to try to dislodge the delicious grub. The victim of this curry conflict managed to retrieve the meal after fellow students came to their aid with a wooden fork, but matters got worse when the student “snapped the kind samaritan’s fork while trying to jam [their] hands into the machine”. This specific vending machine has previously caught the attention of students for its curious contents which have included $10 metal water bottles and packs of multiple apples.

University Staff Vote Upon Impending Strike Action

After ongoing negotiations, VUW staff may strike after not receiving a “real pay rise”, according to the Tertiary Education Union. Over 400 staff have unanimously voted to open the ballot to take industrial action against the uni at a paid union meeting on 21 September, after a disappointing pay offer in this round of bargaining. The strike action is also being considered nationally. Across the country, staff wages have lagged behind the overall rise in university costs. An electronic ballot will be sent to all eligible union members, including professors and senior staff, on whether they are in favour of taking national strike action.

Tamatha Paul

Words by Ethan Manera (he/him)

Current city councillor and student Tamatha Paul, is campaigning to “have another crack” representing the Central Wellington Pukehīnau/Lambton Ward.

The former VUWSA president said she’s the “strongest candidate for students”. As a Green Party candidate, she supports policies such as free public transport, climate action, and affordable housing.

Climate

Being deputy chair of the council’s environment committee, Paul says that climate action work is her biggest win on council, pointing to securing $200M of investment for the cycleway network.

“Emissions from private vehicles make up half of all emissions in Wellington [...] The biggest thing that we can do for climate action is to get out of our cars and onto our buses, trains, and bikes,” she said.

Paul also prides herself on “taking $76 million off of the airport”, referring to Wellington Airport’s request for investment in a runway extension.

Paul admits she does still own her “piece of shit” car due to having lupus and rheumatoid arthritis. Her experience with this progressive physical disability is a “big part of [her] advocacy”.

Housing

Speaking on the progress she’s made as a councillor, Paul says her “voice and votes on housing were critical for students”. She says council needs to work with homeowners, iwi, and community housing providers to build “lots of public housing”.

Currently living in a “cold, damp, wet, flat in Aro Valley”, Paul says her first experience flatting in Wellington is still fresh in her mind. She said it was “fucking horrendous” being “taken advantage of by landlords” and moving between three “shithole” flats which strongly effected her physical health.

Paul believes she is unique compared to the two other current Lambton councillors as she supports high density developments. “I think most people know that I don’t care for trivial things like character and heritage protections,” she remarked.

Keen to work with VUW, she also wants to restore the infamously derelict Gordon Wilson Flats on The Terrace. “They’ve been sitting there for so long and it’s just such a waste.”

Paul isn’t afraid of dragging the university for what she dubbed “totally unaffordable” student accommodation “If they don’t start making their accommodation more affordable, we should look at removing their non-ratable status.” This would potentially see VUW charged rates on halls which do not meet an acceptable affordability and living standard.

Te Tiriti o Waitangi

Paul is “proud to be a rangatahi Māori” and says she applies a “Te Tiriti lens” to the big issues of Wellington. In her current term on council, Paul successfully worked to restore Māori place names throughout the city. After speaking with residents, she’s currently eying up renaming Aro Valley’s Epuni Street to Te Puni Street.

If re-elected, Paul has committed to continually support co-governance and getting more Māori land back.

Why should students vote for her?

Elected in 2018 as the first wahine Māori VUWSA president, Paul has “years and years of [experience] advocating for the student community”.

Paul’s message to voters? “I’ve got a proven track record of wins, [...] but there are a lot of upset, angry boomers out there and they are trying very hard to stop me because I’ve been so effective on council. So I really need students to get out and vote.”

Lachlan Patterson

Words by Azaria Howell (she/her)

Only 22-years-old, Green Party candidate Lachlan Patterson is running for Wellington City Council in the Wharangi/Onslow-Western Ward.

Patterson recently finished a Bachelor of Science in Environmental Studies at Te Herenga Waka. He is running for council because “we’re at a real crossroads for the future of this city, when faced with the triple crises of housing, climate and biodiversity.”

Housing

As a renter, Patterson has firsthand experience living in costly rental properties that are not fit-for-purpose. Patterson said that housing was a “human right”, and should be treated as such. He wants to ensure that tenants’ needs are met, citing “good, warm, and dry [homes], with great green space [and] in good quality” as his main focus.

Patterson said the council is able to enact quality housing in Wellington: “the council does have powers to go and inspect rental properties. We need to make sure that they are actually healthy and find landlords who aren’t [meeting healthy homes standards].”

Controversially, Patterson said that “every car park in the city should be turned into housing.” He added that parking in the city, specifically single-storey car parks, were “a waste of land right in the heart of the city.” Ideally, he thinks universal public housing should be the council’s goal. Patterson said that everyone should have access to public housing, ensuring “no one is forced to rely on the private market.”

Climate Change

Patterson says “we have to take action now to protect our environment”, working towards a “predator-free and carbon-zero capital.”

Patterson wholeheartedly believes there is a climate crisis.

He says that his housing and climate policies go hand in hand, as “crucial investments” can combat both issues at once.

An avid cyclist, he wants better investment in climatefriendly transport. Patterson added that he was willing to let the council “borrow” to invest in “critical infrastructure” around climate. He believes climate investment is necessary, saying that borrowing money now to tackle the issue ensures we “won’t be sorry later”.

Transport

Patterson wants to work with the Wellington Regional Council to improve wages for bus drivers, hoping that investment in the sector will lead to less bus cancellations. He is committed to raising bus driver wages to “at least $30 per hour”, minimising split shifts, and advocating for better working conditions. Patterson also stated that the Karori tunnel is “not fit for purpose”, and needs to be changed to accomodate for double-decker buses.

Taxation

Patterson says the idea of a cost of living crisis has been misinterpreted, stating that “there is an inequality crisis”, but that “there’s no cost of living crisis for the rich.”

Patterson said that progressive taxation like a capital gains tax or land value tax could “encourage people to use land efficiently”, which would “discourage land sitting empty”.

Patterson was excited to see the council move to a community housing provider model, as this means that the Government can subsidise rents to no more than 25% of one’s income. He added that this move means that the council “don’t need to cut spending”.

Voting Opens

9:00am Monday 26th September

Results announced at the 12pm Thursday 29th September vote!

To

Voting Closes

11:30am Thursday 29th Septembe

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Wellington has a thriving tattoo scene that sets it apart from the rest of Aotearoa. With an annual tattoo convention that welcomes hundreds of eager customers every year and a thriving independent tattooist scene, Wellingtonians are spoiled for choice when it comes to getting some great ink. As the stigma of tattoos decreases and the number of artists increase, tattooists are now facing a more competitive industry than ever. Does the rise in numbers of independent artists threaten the quality of tattoos? How does that affect artists in Wellington today? I chatted with two local tattoo artists to understand the current state and future of Wellington’s tattoo scene.

Jun (known as @junbugtattoos on Instagram) is one of the many independent tattoo artists in the city. Being independent means they are not tied to a singular studio. Traditionally, tattoos were only accessible through tattoo shops, but recently more artists are choosing to work from their homes or private studios. “I didn’t want to practice in studios… just because I kinda heard from [my friends] that they weren’t having the best time,” Jun tells me, referring to the stereotypical ‘boys-club’ culture of traditional tattoo shops. “As a queer person, a person of color already…I didn’t really want to have to go through what they were going through just to let them, you know, ‘prove themselves’,” they explain.

The traditional route of becoming a tattoo artist via apprenticeship is notorious; the hazing of apprentices by higher-ups often causes aspiring artists to quit due to mistreatment. Traditional apprenticeships can take years to complete before artists can work, depending on the shop. Now, access to information online has meant that artists can learn how to tattoo without the pressures of the traditional apprenticeship route. Jun bought their first tattoo gun online and soon began tattooing from their bedroom, allowing them to have more creative freedom. “The tools will always be out there for people to access, and it’s better that people are able to access information [online] about how to use things safely,” Jun explains.

Jun attributes toxic shop culture to the decline in apprenticeships being taken up in Pōneke. While there are plenty of places that are inclusive and cooperative, Jun notes that there are still a lot of shops where there is a major power imbalance between apprentice and employer. “It can be a bit of an old boys club, and that inherently excludes anybody else that doesn’t fit that mould,” Jun explains.

The decrease in available apprenticeships has also led to a major rise in independent artists like Jun working across Pōneke. Independent artists tend to appeal to a younger clientele, mostly students. In a post-covid economy, working independently allows artists to earn more without having to pay for a studio space.

However, tattoo artist John Roberts doesn’t think that traditional tattoo parlours in Wellington are losing out on business anytime soon. John explained that there are still people that are “far more comfortable to go into a tattoo shop than they are to go to someone’s house or flat and into the personal space and get stuff done,” he explains. “You also have a bit of recourse [in a shop] if something doesn’t go well. It is a safer place to be tattooed,” he says. “I had a studio in Hawke’s Bay for 23 years, and that was always inclusive. It was raucous at times… but it was still a safe place to get tattoos. We were about doing tattoos. It [was] not about being assholes,” he says.

John Roberts (@john_monsta on Instagram) has been tattooing for over 25 years. Now 53 years old, John is well-established in Wellington’s tattoo scene as an artist specialising in bold, neotraditional Japanese designs. “Wellington is pumping,” John tells me, describing the scene as “very busy” yet lacking in skilled artists. He practises both at Union Tattoo in the CBD and at ATB Tattoo in Ōtaki. Now more than ever, there are thousands of online resources teaching amateurs how to tattoo from the comfort of their own home. I ask him if he thinks this is a bad thing. “[It’s] kind of good, because I do cover ups, so I can fix it,” he chuckles. “I think people are gonna do it anyway, I did it,” he tells me.

Both Jun and John agree that social media strengthens their business, but John also describes it as “necessary evil”. While social media has allowed both independent and studio artists to reach a wide range of potential clients, the nature of Instagram can force artists to conform to the algorithm. “It’s so hard for us to play into the algorithm because neither of us want to show our face,” Jun sighs. “The tattooing process is supposed to be a respectful, private space that is in the control of the person getting tattooed. And I feel like if I was in a vulnerable position, I wouldn’t really want a camera in my face,” they explain.

So what’s trendy in Wellington? John and Jun both said “fine line”.

Fine line tattoos have exploded in popularity in the last decade, largely due to the stigmatisation of having tattoos in the workplace.

Since 2017, “fine line tattoo” has increased in Google searches by 90%. The popularity of the style can be attributed to its subtle nature. This means that clients no longer have to commit to bold traditional styles to experience getting inked. John notes that while fine line work is simple, it’s difficult to execute well. “Things at the moment have gotten really simplistic,” John tells me.

Even though he specialises in more traditional tattooing, John frequently finds himself working on fine line pieces. He tells me that “flash days”—events where predesigned ‘flash’ tattoos are given all day—are getting increasingly popular with young people as well. He finds younger clients are more likely to show up and “pick shit off a wall” than ask for custom designs. While John’s regular clientele is “maybe ten clients, which is a pretty small number”, most of his clients are interested in getting very large pieces done.

In comparison to John’s bold style, Jun’s portfolio displays an eclectic mix of delicate linework, fairies, and illustrative magical beings. “I will never get bored [tattooing] femme figures, flowing fabrics, fairies, and little cute animals,” they say. Jun describes their clientele as a “really nice little circle” of individuals aged 20-30, and uni students who “walk a similar way of life”.

It’s clear that Wellington’s tattoo scene is absolutely pumping and is unlikely to slow down anytime soon. As more artists swap pens for tattoo guns, Jun says that it’s up to the emerging artists to honour the process and to keep client respect at the forefront of the practice. “Tattooing is a very specific art form. Because it’s not just you doing it individually, your actions are going to impact the life and health of another person,” they explain. “You need to respect that and also the other person. And if you’re not doing that, you probably shouldn’t be tattooing.”

ART BY JOHN WAYNE ROBERTS

ART, SEX, AND SCANDAL

Words by Lauren Walker (she/her)

Sex and scandal probably aren’t the first words that come to mind when you think of art. But there was something kinky about the Surrealists. These famous artists of the 20th century had scandalous sex lives, far more interesting than you’d think. While shows like Love Island and Too Hot to Handle are some of the sexiest shows of our day and age, the love lives of the Surrealists were arguably more chaotic.

Surrealism was an art movement which took hold of Europe after World War I. The movement, which would be considered inadvertantly sexist in today’s world, was dominated by men. It aimed to capture a dream-like state of being while encouraging the pursuit of pleasure and desire.

The Surrealists saw a woman’s body as the key to an enchanting world which lay outside rationality. Through desire, the Surrealists manifested an image of the what they called the ‘femme-enfant’: a young woman whose youth, naivety, and purity were

believed to permit her access to the unconscious realms that nourished Surrealist imagery.

The Surrealist male gaze lacked coherence. While they revolted against the notion of marriage, many of them married more than once. Surrealist thinking objectified women for sexual pleasure, but in reality many of the Surrealists dated intellectual women with bold and artistic personalities similar to their own. It was these contrasting views that led to the exciting romantic lives of some of the world’s most famous artists.

Roland Penrose was an English artist, historian, and poet. He was responsible for promoting and organising many of the Surrealist exhibitions in the movement’s early days. Roland married the poet Valentine Boué, and later the photographer Lee Miller. He recalled his first impression of Valentine as “unexpected and incongruous, a thunderbolt falling out of the sky.”

After the two married and discovered that Valentine had vaginismus, Roland’s growing sexual desires outgrew Valentine’s content for meaningful love. She addressed the matter in a merciless letter to him in 1934: “it is difficult to believe that something sexual could reduce a loving human being to the rank of zero.” While Valentine tried to sexually please her husband, partaking in bondage activities where he bound her naked to a pine tree, her stubborn and righteous personality ultimately divided the pair. Roland described his fetish with bondage as a way to assure his love that he would never disappear from her grasp. But for Valentine, true intimacy was never sexual.

Valentine travelled to India in 1936 with female painter Alice Rahon, who was recently divorced from the Surrealist painter Wolfgang Paalen. The two women had an undying love for one another, spending months travelling India together while studying Hindu philosophy which enforced no laws on physical love. In 1951, Valentine Penrose published Dons des Féminines, the story of two upper-middle-class European women on a trip to the East. In the story, the two women travel alone and live out their lesbian love story without a care in the world. The characters are unarguably a representation of Valentine and Alice. I can imagine it was Valentine’s fierce French accent and inability to waver from her strong spirit that made her sexy to Alice.

Photographer Lee Miller’s undeniable SwedishAmerican beauty and career as a fashion model meant her entrance into Surrealist circles was somewhat effortless. While photographer Man Ray didn’t like Lee’s determination and freespirited desire to pursue whomever she pleased, he wouldn’t dare leave her side. Lee was one of the most beautiful women in Paris, while Man Ray was described as a short, unattractive Jewish man. He was obsessed with Lee. The two shared a deeply passionate love during their three years spent living together. But soon Man Ray became jealous, possessive, and overprotective of Lee. A huge red flag in any girl’s eyes. All too much for the American goddess, Lee up and left Man Ray for New York, leaving the photographer heartbroken.

Two years later, Lee met and married a filthy rich Egyptian railroad tycoon, moving her life to Cairo. But unable to help herself on a visit to Paris a few years later, Lee met none other than Roland Penrose.

The two shared a textbook love story, travelling Europe together, visiting famous artist friends. Lee was even painted by Pablo Picasso, an absolute play-boy and womaniser. Picasso’s hectic love life is a story for another time.

During the Second World War, Lee worked as a photographer and became well-known for many of her high-profile shots for Vogue. However, she suffered from terrible PTSD which caused her to give up photography. Man Ray heard she had become an alcoholic, so sent her wondrous gifts to try and cheer her up. During this time, Roland pursued multiple affairs with younger women which made the alcoholism worsen. Valentine, who had remained lifelong friends with Roland, had become close friends with Lee. She moved in with the couple during this time, helping Lee with her depression and assisting to raise their young son. She was the crazy aunt of the family, requesting to read everyone’s tarot until they begged her to stop. Roland and Lee’s home, named Farleys House, became the home of the Surrealists. Known for hosting outrageous Gatsby-like parties with the most important names in the art world.

Peggy Guggenheim, on the other hand, was a unique case. From an eccentric family and a father who ran away with a cabaret singer only to drown on the Titanic, one could argue that Peggy spent her life collecting art to fill the void in her lonely heart. Desperate to lose her virginity at the age of twentythree, Peggy arrived in Paris eager to find the right fit. Living the high-life of hard drinking among the bourgeoisie of the Paris cafes of Montmartre and Left Bank, Peggy cruised with unsung artists, unemployed performers, and unpublished writers.

She had an obsession with sex, describing herself as a nymphomaniac. Upon her move to Paris, handsome poet Laurence Vail became her first lucky candidate. Peggy said in an interview, “I had a collection of photographs of frescoes I had seen at Pompeii. They depicted people making love in various positions, and of course I was very curious and wanted to try them all out myself. It soon occurred to me that I could make use of Laurence for this purpose.” After a soirée of sex positions, Peggy felt it was best to marry Laurence. The two were married in 1922 and were divorced by 1930 with two young children.

Peggy’s type, tall, dark and good-looking, was somewhat conflicting to the men she actually slept with. Her endless list of lovers included Yves Tanguy, Samuel Beckett, Marcel Duchamp, and John Cage, among many others. Samuel Beckett was apparently so lustful and horny that he once kept her in bed for four days with only breaks for sandwiches. Sounds kind of fun if you ask me. Peggy spoke nonchalantly about her one night stands. “Oh, but I only slept with him once,” she said in an interview, as if having sex just once shouldn’t count.

At the height of World War II, painter Max Ernst and Surrealist leader André Breton escaped Europe for New York. Who came to their rescue? None other than the American heiress; wealthy, upper-class Peggy Guggenheim. With Marcel Duchamp as her right-hand man, Peggy had collected a mass of modernist paintings which would today be worth billions.

Perhaps the lust to be with an artist came from the desire to be closer to them than they were to their practice. Nonetheless, Peggy was always secondbest. She married Max Ernst soon after their arrival to New York, but Max did little to remain faithful.

The evening Max Ernst met Dorothea Tanning, it was snowing on the streets of Manhattan. Max, then middle-aged, tall, lean, blonde, and handsome, had arrived at the young American painter’s apartment. Dorothea opened her apartment door. Max had come, on behalf of his wife Peggy, to examine Dorothea’s works ahead of an upcoming exhibition titled ‘Exhibition by 31 Women’.

With dark brown hair, a slender build, a button nose, and thin lips, Dorothea in all of her youthful beauty invited Max inside to examine her paintings. It was on that night that a lifelong love affair between two creatives began. Leaving Peggy behind, Max pursued Dorothea, coming over to play chess nearly every night thereafter. Four weeks later, Max had fully moved in with the American painter.

While she was sex-crazed and eccentric, Peggy Guggenheim, stands as one of the most influential women in the history of modern art. She saved almost the entire collection of modern art from the Louvre during World War II and snuck it into America. During this time, she bought at least one painting a day from her artist friends to make sure they could afford to stay alive. She also gave Jackson Pollock a monthly allowance to ensure he could afford to paint and live.

If Peggy wanted something, then she got it. Sometimes having sex meant she got “mates rates”; she said it herself, but in classier terms. She slept around, she enjoyed it, and she didn’t care what people thought. I think that should make her a modern-day millennial icon. For Peggy, I think sex was for fun and pleasure, but art was always her one true love.

While I love the scandal of the Surrealists’ lives, the thing I love most of all is the ways in which their lives crossed paths. Throughout the roaring 20s, World War II, and beyond, these artists, regardless of all political turmoil and chaos, remained close. What kept them together? Art.

Amidst the romantic drama, love triangles, and sexual escapades, art was the lens they chose to use when they couldn’t communicate through words. Love and heart-break brought some of their best works to life. When Lee left Man Ray, his broken heart undoubtedly created some of his best works. If not for Roland, Valentine would have never written half of her poems. Max and Dorothea were a source of inspiration to each other throughout their entire lives together. Each relationship, short-lived or life-long, created the foundations for some of the greatest pieces of modern art.

So next time your love life takes a hot and steamy turn, hold on to the excitement and look forward to the aftermath at the end of it.

Whenever I drop the word “zine” in conversations, I get blank stares. Zine (pronounced “zeen”) comes from the words “magazine” and “fanzine”. They are self-published print publications with a small-circulation, containing original or appropriated texts and images. Self-publishing allows the author to take full creative control of the publishing process, making zines appealing to marginalised voices. Rooted in self expression, zines are non-commercial vehicles for new ideas, expression, and art.

Zines were first created in the 1930s within the science fiction fandom. The growth of the underground press launched zines into popularity during the 50s and 60s.

Zines remain popular even in the ‘dying age of print’, and I’m here to find out why. I interviewed Helen Yeung from the Migrant Zine Collective and Liam Goulter from Wellington Zinefest about the zine scene. I’ve also shared my top tips on how to make your own zine and where to access zines.

Words by Alice Brown (she/her)

A platform for migrants

After working in journalism for years, Migrant Zine Collective (MZC) founder Helen Yeung was tired of the stereotypical stories written to represent migrants of colour in Aotearoa.

Helen believes that zines are a great platform to share the voices of migrants because of their DIY nature. Zine-making doesn’t follow the strict rules and methodologies of traditional publishing. This allows for “marginalised groups to share their lived experiences in critical and uncensored ways.” Helen also believes that the “de-prioritising of textual content in zines means self-expression can be represented by visual mediums such as collages, artwork, or photography,” making it easier to read for migrants with language barriers.

MZC’s first project was GEN M, inspired by Helen’s own inquiry into her Hong Kong-Chinese migrant identity. GEN M was intended to be a one-off zine, but after receiving a lot of supportive feedback, Helen was inspired to start MZC to respond to the necessity of featuring more migrants of colour in Aotearoa’s publishing landscape.

Migrant Zine Collective has just celebrated its fifth birthday. Since then, they have branched out into more communal engagement and events. As its members are tauiwi, MZC actively upholds Te Tiriti through conversations around Indigenousmigrant solidarity in their workshops. Organisers are engaged in activism and collective action.

I asked Helen if there was a particular moment or memory with MZC that stood out for her. She recalled a moment sharing MZC’s Unwritten Stories zine with her grandma before she passed away two years ago. Helen said that her grandma was “impressed and proud that her migration story was featured” in a zine made by her granddaughter. It’s moments like these that remind Helen of the reason she started MZC: “to make sure everyone’s story is worthy to be told and heard.”

Although MZC are based in Tāmaki Makaurau, they welcome submissions and collaborations from across Aotearoa and beyond. Email migrantzinecollective@ gmail.com or send them a message on their Instagram [insert IG handle]. MZC just released a call out post for Agu’ot, which is an upcoming community zine featuring an eclectic mix of queer stories from Guam and the Pacific region.

Wellington Zinefest

After a two year hiatus, Wellington Zinefest (WZF) is making its hotly-anticipated return to Pōneke.

Wellington Zinefest is a community organisation that runs an annual festival, market days, workshops, and meet-ups for local zine-makers. This year’s market will run from 15-16 October, hosted by Te Kura Hoahoa—VUW’s School of Design Innovation, showcasing 120 unique stalls loaded with a diverse array of zines.

Liam Goulter oversees WZF’s events, projects, and collaborations. He told me that, over the years, WZF has experienced an unintentional shift towards a general art market where art prints became more popular than zines themselves. Organisers have been working hard to refocus this year’s event on printed zines. A large part of that has been commissioning individual creatives throughout the year and commissioning collaborative zines. Here, Liam mentioned the Disability Zine Project, as well as collaborative zine focussed on cat content.

If this is your first time attending WZF, Liam recommends you bring cash. He also stressed the importance of being mindful when interacting with stallholders as they may be displaying incredibly personal work. Acknowledge zine makers when you walk by their stall, rather than just scanning over their work.

I always stock up on zines at Zinefest to keep me engrossed until the next year rolls around. Check out the stallholder catalogue at the Wellington Zinefest website.

Accessibility hour is from 11am-12pm for those who find crowds challenging. The market will be fully open at 12pm through until 4pm. This event is free, making it student-budget friendly!

Step 1: Get Inspired

To help get your curiosity cooking, I’ve collated a list of places that you can find zines in Pōneke.

Wellington City Libraries

Newtown, Arapaki on Manners, and He Matapihi Molesworth Library all have extensive zine collections to borrow from for free!

Arapaki is currently home to the Lucky Drop vending machine. Lucky Drop is stoked full of zines, comics, stickers, and self-published work. Read more about it here: https://www.wellingtonzinefest. com/luckydrop

If you make zines, drop them off to any of WCL’s branch libraries! They will be processed and added to a collection at one of the three libraries.

The Freedom Shop

Looking for radical information while supporting DIY anarchist culture? The Freedom Shop is located at 160 Riddiford St, Newtown.

If you make radical zines, bring them along and they can sell them on your behalf. There is a minimum mark-up of 20%.

Red Letter Distro

Based in Pōneke and centering

Aoteroa’s artists, Red Letter is a punk rock mail-order “catalogue-cumoccasional distro” of curated zines, comics, and artist publications.

To order visit: https://redletterdistro. com/Homepage

Step 2: Art starts with brainstorms

The Purpose

Ask yourself why you are making a zine. Is it purely to get down with your creative side, or does your zine have an intended audience? If it’s the latter, keep your audience in mind every step of the way.

The Content

You can publish art you’ve already created, illustrate your friends’ poetry, create a comic, or drop a manifesto. The possibilities are limitless so start collating your content. Add a folder on your Google Drive, scan your diary, or rip pages from your sketchbook.

The Theme

Although it’s not a requirement, most zines have a theme. Fortunately, you are only limited by your imagination. There are many questions to ask yourself to get ideas flowing. Here are some to get you started:

What events are happening around me? What is significant about my environment?

What stories do I have to tell? What sparks my curiosity?

You could tell stories as random as ‘things you shouldn’t use as lube’. Find a new approach to your theme and ensure that it hasn’t been overdone.

Aesthetic

The aim here is to establish what form your zine will take and how the aesthetics will convey your theme.

Style:

You want to establish a cohesive look for the entire zine. Consider different typefaces, colours, formates, photographs, and illustrations that will support your theme. Are there design styles typically associated with your theme? Now is the time you download Pinterest if you haven’t already.

Format: Here you need to consider the function of the zine. Would you like it to fit in someone’s pocket, or slip neatly into a letter box? How many pages will it cover? Does your zine need sections, a contents page, or any other features of a traditional magazine?

There are plenty of zine templates online to download. Freshen up your Adobe skills if you’re wanting to make something a bit more professional.

Step 3: Distribution

Now it’s time to share it.

Printing your zine

So you’ve made one one zine but you want more! You’ll need a printer and a scanner. You can use the university printers but this will definitely crack your budget. Your workplace printer, maybe?

Alternatively, I’d recommend establishing a relationship with your local print shop and finding out their formatting requirements. If you don’t have a printing budget, you can still display your zine in pdf format online.

Distribution

Donating Zines:

You’ll notice that when we listed places you could buy zines we also highlighted places that collect zines as well.

Selling Zines:

There are endless methods to sell your zines. You can keep an eye out for local craft markets or create a personal website if you have enough artwork. There are also websites that sell on your behalf, such as Etsy. There is the option to reach out to retailers and ask if they are willing to sell your work. This will often include a mark up.

Pricing your artwork can be hard, but zines usually price between $2 and $15, depending on the quality.

Consider a workshop

Mashuko Aoteroa

After attending Zinefest in 2014, Mashuko Aotearoa founder Kristine was enthusiastic to give it a go herself. Now she encourages others to explore the art of zine making through collaborative workshops.

Message @mashuko_nz on Instagram to secure yourself a space in an upcoming collaborative zine workshop. All supplies are provided.

Zine101

This is an online course run by Wellington Zinefest. Here, you can find informative videos, tasks, and all the links to top zine resources.

https://www.wellingtonzinefest.com/zine101

The zines featured in the background image:

• Welly Cafe Memories by Mary Gou

• Advertising Anarchy by Ponkan

• Fuck Abuse Kill Power by CrimethInc

• Dancing Series by Tahlia Conrad-Hinga

• Burning Women by Lady Stardust

Flatting creates all kinds of new connections and communities. For the Jefferson Collective, it sparked a creative collaboration, combining the individual strengths and interests of flatmates Savanna Stent (she/her), Kat Rowan (they/them), and Rosie Mazur (she/her). The Jefferson Collective sells jewellery by Sav, art prints by Kat, and collaborative zines put together by Rosie.

Their first zine series combines poetry, illustration, and collage to tell a story of adolescence in three stages: hurting, healing, and growing. You can find them hanging out at market stalls—including the monthly markets at Kelburn campus—selling their creative wares. I sat down for a chat in their living room on a lazy Sunday afternoon. We drank tea on crocheted coasters and sifted through zine collections, prints, comics, and wire lizards. We talked about being a ‘creator’, what makes zines great, the contentions of selling art, and the advantages of being part of a creative community.

Why did you decide to come together as the Jefferson Collective?

Sav: We wanted to sell at markets. I wanted to sell jewellery, Rosie had made a zine, and Kat had art prints. Because we don’t have enough [art] to each have our own store and it’s expensive to go to individual markets, we were like: “let’s sell it together”.

Rosie: To be able to create something tangible is definitely a big thing for me. I wanted to do Zinefest last year, which got cancelled, but I didn’t have a stall to go to. I think that was also a big reason why we made the collective, because there was less pressure on me being at a stall by myself.

Wellington Zinefest is an annual festival showcasing and selling the work of self-publishing zine-makers of all ages and backgrounds—this year it’s on 15-16 October at Te Aro campus.

A lot of creators sell stuff exclusively online now. Why go to handcrafted markets?*

Rosie: One of my favourite things about the markets is literally being able to walk around and look at other people’s stuff. They’ll passionately talk about their thing and it’s so cool, and then it also makes them feel obliged to go and look at your stuff!

Kat: It’s such a community event. Tell me what’s cool about the things you all create.

Sav said it’s the way chunky necklaces from thrift stores can be transformed into earrings.

Sav: I’m not that technical and I can’t draw that well, but if it comes to wire and pliers, I love it. I’m going to shout out to Vincents Art Workshop on Willis Street. They have so many free resources for anyone

Words by Maia Ingoe (she/her)

wanting to do any form of art. You can make donations, but the clay is free, the paint is free, the canvas is free. It’s phenomenal.

Kat has been in a creative block and is finding that what she creates is changing.

Kat: But what’s been good about collaborating with these guys in terms of the markets and stuff is that even though I’ve been selling some of my older work, I still feel like I can be a part of the creative community.

For Rosie, it’s the tactile and accessible nature of zines and the materials she can use.

Rosie: I get lots of my stuff from Daiso. I love stationery and just shit that I’ve picked up from the side of the road, which is probably a bit gross. You can also see here this one leaf is actually covering up a spelling mistake.

Rosie gestures to a poem in No. 3: Growing, the third zine in their collection, collaged with green ferns, crumbling brown leaves, dirt stains, and seed pods.

Do you view the collective as a kind of side hustle?

Sav: Passion, and a little bit of side hustle.

Rosie: A little bit of side hustle. This is my first time publishing, per se. It was really cool to have a zine in a kind of ‘shop’. A lot of my art has been with me at 2a.m. in my room and no one’s seen it.

Being in a creative flat and having the fluid medium of a zine has helped Rosie feel confident and happy to share her work.

Are there any other artists or anything that you draw inspiration from?

Sav: If anyone knows what The Dark Crystal: Age of Resistance is, tell them to hit me up! It’s on Netflix, it’s based off the Jim Henson Dark Crystal movie, it’s amazing.

For any of our readers that might be unfamiliar—could you describe what a zine is?

Rosie: Zine comes from “magazine”. [It’s] literally just a homemade magazine and you can put anything in it. I’ve put in comics, poetry, and illustrations.

What’s the advantage of working as a collective?

Rosie: We motivate each other and inspire each other, which I really love.

She shows me part of a zine she and Kat have nearly finished collaborating on. Kat was in charge of the characters and the storyline, and Rosie was the illustrator.

Rosie: It’s just this simple, cute, fairytale of these zombie lesbians. But [she looks over to Kat], even if you feel in a creative block, we’re still collaborating on this. And you’ve been able to tell a story.

Rosie: What makes me the happiest is when I go to markets where I meet other creative people who have made it their life and have found a way to sustain themselves while being creative.

Would you guys describe yourselves as artists?

Sav: I do a BA, so I kind of have to!

Rosie: I feel more comfortable with other people calling me an artist than myself calling me an artist.

Why do you think you’re hesitant about that?

Sav: Probably because we’re young and we’re still learning.

Kat: I prefer the term “creative” though, for myself. It feels like a term that covers more in a way, like, some of the things I do that are creative I wouldn’t necessarily call art. But I think there also is a level of imposter syndrome to claiming the title of an artist.

www.salient.org.nz25

Sav: I like the term “creative” as well, because if it’s “artist”, it’s gotta be one specific thing that you like. But I like to dabble and try a bunch of things. I’m not amazing at one thing, I’m average at a bunch of things.

Since we’ve had lockdowns, there’s been this influx of people doing handcrafted creative things. How do you find yourselves being unique in that?

Sav: As long as you’re doing what you like and what makes you the happiest, then I feel like it’s always unique to you. I don’t really have a ‘brand’, I just like fiddling and playing.

Rosie: I’m not really worried about being unique. Because to me, I’m just doing my hobbies and I love doing it. I still developed a style. I think I’m known for this spooky, witch-zombie kind of stuff.

Sav: Do what you like and what brings you joy.

Kat: This may be mildly hypocritical, but I would say to advise people not to feel pressure to commodify all of their hobbies. Especially if you’re getting started, because it should be something for you first and foremost.

When I met Jefferson Collective, I wanted to know if turning a profit from creative work, no matter how marginal, changed how they operated as creatives. I found that Jefferson Collective are creators operating on their own terms, creating first out of passion, and deciding on a price second. They are unapologetic about growing and learning, and showcase the strengths of collaboration. By sharing their creative talents, they produce zines that are defiantly unique while supporting each other’s individual projects and talents. Go see their work for yourselves: find Jefferson Collective at the monthly VUW craft markets, and on Instagram at @thejeffersoncollective and @savs_jewllery.

Illustrations by Janhavi Gosavi (she/her) and Aaron O’Leery (he/him)

ARTIST PROFILES

LOTTE

Instagram

Kia ora! I am Lotte, a second-year Early Childhood Education student and I have been painting since Year 9. My paintings are heavily influenced by artists such as Gustav Klimt and Alonsa Guevara. I have always found art to be a good way to express myself and my views on feminism and female empowerment.

BELLS

Instagram

Hey, I’m Bells and I’ve loved art since I was a young kid. Having recently rekindled my love for illustration these past 6 years or so, I’m currently exploring new mediums such as watercolour and digital media. I love animals, and especially love to paint them as I find their faces and bodies unique. I’m hoping to move into either fashion or animation in the upcoming years, however, I am also open to any and all opportunities.

INA RUFINO

I’m Ina (she/her) and I’m a Filipino, Aotearoa-raised tattoo artist based in TeWhanganui-a-Tara.

I have spent the past year growing my skills in tattooing. I am now in my own studio and I can be creative with how I want my space to look for my clients.

I began drawing for therapeutic purposes as it was a way to stop my mind racing. Slowly, people began to gravitate towards my art and I began exploring tattooing.

It’s been an honour to permanently ink people with my designs. It was definitely not something I thought I would be doing. Now I can’t wait to continue growing as an artist. I hope that Salient readers can gain some inspiration from my art.

B¥NN is a bucket hat wearing blobfish from the imaginary city of MidMetro. His illustrations explore this world: a city that twists, stretches, and oozes personality. From fishpeople skateboarding to tree roots weaving in and out of buildings, B¥NN reconstructs our familiar urban surroundings into a chaotic streetscape that reflects his view of city life. Taking inspiration from cartoons, skate videos, and the streets, B¥NN has an unforgettable style that goes into his work. He makes risograph prints, 360 degree illustrations, murals, and whatever else he can get his hands on.

KELLY

I grew up in Thames, a coastal town in Waikato. Now I’m in my third year of Design and Sociology at VUW. Outside of study, I hike, play the piano, read, write, and make art.

My art consists of drawings, paintings, and some experimentation with mediums. I capture people, creatures, places, and stories through observation, surrealism, and illustration. I also like to visualise words by making text from imagery—some of this style appears in the book Secondary Literacy: A Teacher Handbook, published in 2021. Recently, I’ve been making art using sea glass that I collect from local beaches.

ISABELLE

My name is Isabelle Tong (she/her). I’m in my second year of studying towards a Bachelor of Design Innovation and I’m from Hawera, South Taranaki.

Growing up, I always had a project on the go. Once I got to uni, I always felt ‘too busy’ and lost the reason why I started studying in the first place!

Recently, a lino-cut print popped up on my Pinterest page and it inspired me to have a go! I have learnt to embrace the small imperfections and differences of each print.

My prints are printed on a dictionary that I rescued from the bin at the op shop I volunteer at.

I am still in the early stages of printmaking, but you can follow my journey on Instagram @isabelletongdesign.

Instagram

Instagram

Theatre Review: Skin Tight at Circa

Words by Joanna Fan (she/her)

Skin Tight, written by Gary Henderson, premiered at BATS Theatre in 1994, going on to become one of Aotearoa’s most universal and enduring pieces of theatrical work. Circa Theatre’s Skin Tight was directed by Katherine McRae and performed by Ella Gilbert, Arlo Gibson, and K.C. Kelly. The 2022 season ran from 27 August-24 September.

Skin Tight begins with a jumpscare. There’s a flash of light and cacophony of sound. The two actors burst in from either side of the stage, colliding in the centre, before an all-out fist fight ensues. It’s a sensory overload, only halted by sudden silence, right at the climax. As if nothing has happened, they kiss.

Skin Tight centres around the final chapter of Tom and Elizabeth’s love story as they indulge in a lifetime past. Secrets are revealed. Uncomfortable truths are exposed. Lust is rife. Choosing nostalgia may be the best way to say goodbye.

From the dialogue to the movement, the fights, the splashing of the water, Gilbert and Gibson are truly the stars of the show. Their chemistry is palpable—each fight feels animalistic, each kiss feels like the first. Particularly breathtaking was their ability to create tenderness through mundane acts of daily life: eating apples, washing Elizabeth’s hair, shaving Tom’s beard. Their performances define the love story at the heart of Skin Tight: a story about unbearable loss, letting go, and moving on. “I have to go,” repeats Elizabeth.

For those familiar with Henderson’s original script, Elizabeth’s fate may seem crystal clear from the start.

As the clues begin trickling in, we begin to understand why she longs for their estranged daughter Kitty to come home one last time, why she requests Tom to wash her dead body, and why time seems to be constantly running out. Or perhaps the final image with Kelly at its centre may provide the ultimate clue that is needed. The foreshadowing of Elizabeth’s fate is the strongest aspect of McRae’s direction.

Lucas Neal’s set is a standout: the remaining bones of a once-lively South Canterbury farm, which excellently complements the play’s themes of finality, loss, and ending. Brynne Tasker-Poland’s lighting design was another standout, maximising a minimalist set through shadow play. The final image of Elizabeth’s body sprawled across the bathtub with a warm golden light reflected against the cold steel will be forever etched in my memory. Movement director Luke Hanna, intimacy coordinator Tandi Wright, and fight supporter Allan Henry must also be commended for their work on the actors’ incredible physicality and chemistry. You know it’s exceptional when the audience audibly gasps.

No words in the English language can quite encompass the gravity of McRae’s reimagined Skin Tight. It’s no wonder that the play has reached universal acclaim. Discussions of war, grief, trauma, loss, and unrelenting love are not unique to Aotearoa’s landscape. Overall, Skin Tight is a masterclass in physical theatre—visceral, intimate, nostalgic, endearing, and poetic. Tears were shed. I can confidently, with no hyperbole at all, say that Skin Tight is the best piece of art I have seen in 2022.

Theatre Review: Dust

Words by Janhavi Gosavi (she/her)

Dust was the inaugural play by Dusty Productions, a new company founded by VUW Theatre graduates Tom Smith and Jimmy Williamson. It was a devised comedy starring Tom and Jimmy, alongside Andre Moffat, Ben Espiner, Clarke Telfer, Ethan Hahunga, and Zac Hobbis. The season ran at Bats Theatre from 17-20 August.

A flat of seven boys wake up on a tragically dusty Tuesday morning to find that the ruckus they caused the night before is resulting in their imminent eviction. Except … none of them can remember what happened. The Hangover meets Welly lad culture as the cast scrambles to piece the puzzle together and hold on to their flat.

The set was minimal: a couch and a coffee table sat in centre stage, surrounded by a smattering of red solo cups and general trash. The walls of the ‘flat’ were adorned with Wakachangi posters and a Hurricanes flag.

The cast was rather large for the small theatre space they were in, but the actors did their best to create unique personalities for every character. I particularly enjoyed sweetly co-dependent Tom, driven by the need to keep his friends united under one roof. But my favourite character was Andre, a feral, wanky, and articulate weirdo who turns into his alter ego “The Beast”, a sage-like mystical being that had me in tears.

The script slapped and the quick fire dialogue was very Amy Sherman-Palladino-esque. There was banter that bounced between actors like a ping pong match, slapstick physical comedy, and quippy one-liners.

Most importantly, their humour reeked of Kiwiana and lad culture. Ethan muttered “kia kaha” to himself to soothe his anger issues, the lads exclusively referred to their drug dealer as “old mate” or “the bro” because no one actually knew his name, and they even accidentally called their female landlord “Mum”. One of my favourite gags was when Tom stopped mid-spiel to ask for a “line”, leading the audience to believe he had forgotten his dialogue, only for his flatmate to present him with a line of meth.

Occasionally, punchlines got lost in the hubbub of laughter. I do appreciate that instead of writing a play full of throwaway jokes, the writers set up jokes early on in the play, which come into effect down the track. However, I could have done without half of the meta-jokes which broke the fourth wall and addressed that the characters were, in fact, living within a play.

The play joked about peer pressure, substance abuse, toxic masculinity, and the objectification of women, but it did so with critical self-awareness. Dust was full of heart because we, the audience, know these kinds of boys: the lads who don’t always say the right thing but mean well and know how to have a good time.

Dust was the kind of low budget, high quality, intimate black box theatre that Aotearoa is known for. It proved that all you need to make excellent theatre is actors who lead with conviction and writers who have a thorough understanding of what makes their intended audience tick.

The lads may have been dusty, but Dust was fresh as.

Uni Q

It’s Out There, Just Look Words by Goose (they/them)

“She’s bisexual,” my sibling insisted, pointing at a five-second clip of two girls dancing together in Pixar’s recent flim Turning Red. The character in question had spent the entire movie obsessing over boy bands, but people are allowed to interpret these snippets how they like. Until they say “the creators said so.”

No the fuck they did not.

I want to talk about actual queer art, by actual queer people, that existed long before the major studios decided it was profitable to represent us. Film is my major at uni, so it’s what I’ll focus on here.

In 1327, King Edward II was deposed for his relationship with his close, male “companion”. Several hundred years later, Derek Jarman, one of the pioneers of New Queer Cinema, blurred the lines of history and gay image with his artsy Edward II (1991). Elsewhere in the New Queer, Rose Troche’s Go Fish (1994) addressed the nuances of butch-femme relationships and lesbian life.

There are lesbian comedies (The Watermelon Woman), gay horrors (Knife+Heart), genderbending musicals (The Rocky Horror Picture Show), and that’s just the movies. By and about Us.

Did you know Wellington used to have a queer film festival? It was called Out Takes, look it up.

Most of the works shown were independently produced within their communities. Aside from the festivals or university courses, you’ve probably only heard of one or two. Queer is not mainstream.

What I’m trying to say is that we shouldn’t settle for scraps from the likes of Disney or any other company. The fulfilling art we need will never come from above, it comes from within. And it already exists in abundance. Dig a little deeper than you usually would, and you’ll discover a plethora of beautiful, diverse, and proud art. Most importantly, support local queer artists so that generations to come can find us too.

PRIDE IS QUEER EXPRESSION

Staying Healthy Through the Six Week Dip Words by Cileme Venkateswar (she/her)

Art has always been a way of making sense of and representing the world around us. The joy, the pain, the beauty, the violence, and all the small, normal in-betweens. Perhaps this is why art is so intrinsically tied to the queer community. The fight for the validity of our existence has always been a multitude of nuanced experiences. But at some point, representation of experience needs to move beyond just what we create in art, music, media, or literature. Representation needs to be present in our real, every-day lives, not just something we see created and displayed.

That’s why this year, for the first time ever, rainbow groups and services across VUW and Pōneke have come together to run Te Herenga Waka PRIDE throughout September. In just a week and a half, over 250 students and staff have attended PRIDE events run by Rainbow & Inclusion, the Rainbow Staff Network, UniQ, the Rainbow Law Students’ Society, and faculties. Queer folks at Te Herenga Waka have the chance to see their own experiences, struggles, and triumphs when looking around a room at these events. The community you find while being at university is an integral part of your growth as a student. But queerness is not a homogenous experience; even in a city like Pōneke, there is loneliness, confusion, and risk with trying to navigate your own queer identity amidst a profoundly heteronormative society. The importance of events like PRIDE cannot be understated. This is how students find security and reassurance in a wider Te Herenga Waka queer community. It’s how students and staff alike can advocate for what this university rainbow community needs.

This is the last week of Te Herenga Waka PRIDE, running until 30 September. But pride doesn’t end when this month does. Your queerness is deserving of representation in all corners of your life, and Te Herenga Waka PRIDE is just the start of bringing awareness to the vast and beautiful queer community we have at the university.

If you are someone who uses art to encapsulate how you experience being queer, the Capturing PRIDE competition is also running until the end of September. Using either photography (1-2 images) or a written piece (1 page max), show us how you experience, envision, or capture pride in the world. Email rainbow@vuw.ac.nz with the subject “CAPTURING PRIDE SUBMISSION (PHOTO / WRITING)” to enter. Be in to win an Ilford retro disposable camera for the photo entry, or a $50 Vic Books book voucher for the written entry! Runnerups will win Vic Books coffee vouchers.

We’re proud of who you are—we’d love to see your pride through some art of your own!

Sudoku

Down

32. With 39A, method of voting in the WCC election (4) * It all goes downhill in this Winter sport (3) Your local elected representatives (4,8) * Family (6) * See 32A * Election

1. ‘The magic word’ (6)

2. Yank (3)

3. Chaos gemstone, in the ‘Sonic the Hedgehog’ games (7)

4. Moneys owed (5)

5. Chapel topper (7)

6. The Atlantic, for example (5)

7. Playwright whose surviving works include ‘Oedipus Rex’ and ‘Antigone’ (9)

8. Frozen dessert (6)

12. Long vegetable (5,4)

15. US state whose official state soil (which they apparently have over there) is ‘Miami’ (which is weird because this state is nowhere near Florida)... also, it’s where you think NASCAR is based (although, also, that’s Florida. This clue got wild, sorry. The answer is not Florida, I swear) (7)

16. Small axe (7)

17. Asparagus stalks (6)

18. No longer in the 6-Down (6)

20. Poet who wrote “April is the cruelest month” (5)

21. Greek fable-writer of ‘The Tortoise and the Hare’ fame (5)

24. Soup that’s the national dish of Vietnam (3) (7) Moron, slangily (7) Potters and photographers, for example (7)

22. ‘Young ___’ (David Bowie hit) (9)

23. Animal whose name means ‘river horse’, (5) Classic crooner Frank (7) Dip that (7)

It is pretty typical of you to be constantly changing your mind, but Saturn is coming through and making all the “can’t go back on this” decisions for you. Being scared of commitment is so boring. Grow up.

Aries Cancer Taurus

Woah, you are oozing charisma right now Taurus, like you’re practically magnetic. All the babes are flocking towards you, so use this new-found power wisely.

A desire related to your home life is aligning with real life. Think: dream flat, an amazing new flatmate, moving out of home, or just getting a better room.

Someone is being the moderator again. You’re the one everyone comes to when there’s drama in the friend group. Expect a few tears and be prepared to give a few hugs.

This week, Leo, you are the master of “the work life balance”. It’s always good to see someone who isn’t stressed out for once. Your kind is a rare breed.

There is something so attractive about the way you’re communicating right now. So assertive. So bold. So confident.

LibraScorpioSagittarius

It’s nice to see you finally opening up about everything. It can be hard feeling like you need others sometimes, but the truth will set you free. Others are more willing to support you than you realise.

Please, for the love of God, Scorpio, slow down. I feel tired just thinking about you. Have a rest for once, my goodness. Classic case of basing your whole identity around being a “busy” person.

One who forces creativity fails.

Ahh I see what we have here. A clear victim of the typical student diet. You need to make good food more of a priority. Taking care of our bodies leads to longer, happier lives.

Time to be more wacky with your appearance. That advice is up to interpretation. Put pegs in your hair or wear multiple belts at the same time. Maybe just put on some insane eyeliner.

If you’re anything like me, you’re suffering from a bit of writer’s block this week, or whatever version of “block” that comes with your type of creativity. Fuck it. Just take a break.

Leo Virgo

Tessa Keenan Features Editor Ronia Ibrahim

Staff Writer Bridget Scott

Staff Maia Ingoe

Staff Writer Zoe Mills

NEED A NEW STUDY BUDDY?