SEVEN/SEVEN issue five - The Industry Issue

05

THIS

ISSUE

music CALLING ALLCARS

WORDS :NIKITA ALLAN

elizabeth rose calling all cars kym campbell the temper trap: the temper trap review olympic ayres: episode II review

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reviews

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For Melbourne-based band Calling All Cars, the dreaded ‘second album syndrome’ simply knocked on their door and welcomed them with open arms.

Dancing With a Dead Man is the bands second album after releasing Hold, Hold, Fire in 2010 with it debuting at number 20 on the ARIA charts. Their success has jumped from strength to strength in the past six years, opening for, and touring with bands such as Green Day, AC/DC and most recently the Foo Fighters as well as playing Big Day Out and many other festivals. I got the honour to meet the boys at their Melbourne Hi Fi sound check to ask them a few questions about the past, present and future of the band.

fashion sarah wil cocks paige royal amelia agosta corrine grbevski editorial: engineered distortion

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culture To ink, or not to ink?

WORDS: Alex Rockstrom

That’s the question for so many young people as the popularity of tattoos only rises as a part of fashion and culture within Melbourne and around the world. The question is why? Tattoo art and body decoration in general is one of the oldest forms of art where in the last ten to fifteen years there has been a boom in the market. However, do people looking to get a tattoo think what’s the point when it is now a fashion statement rather than a meaningful piece of body art? The craze is an interesting one and draws much interest due to the fact it affects laws, youths, health and body insecurities.

look! it’s isobel knowles! to ink, or not to ink? beyond kony future projections oh, you have a new canon dslr and now you're a photographer?

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SEVEN/SEVEN MAGAZINE WWW.SEVENSEVENMAGAZINE.COM.AU www.facebook.com/sevensevenmagazine www.twitter.com/sevensevenmag enquiries@sevensevenmagazine.com.au EDITOR-IN-CHIEF

PAIGE RICHARDS paige@sevensevenmagazine.com.au ART DIRECTOR

NICHOLAS CAIRNS nicholas@sevensevenmagazine.com.au DIRECTOR OF PHOTOGRAPHY

IVAN LEE ivan@sevensevenmagazine.com.au ivan@ijproductions.com CONTRIBUTORS

ALEX LOKAN ALEX ROCKSTROM BEN JONES KATE TEASDALE KRYSTELLE HARVEY NIKITA ALLAN NILUSHI WARUSEVIATANE RUSS BENNING TELFORD MILLS

EDITOR’S

LETTER

Hi, and welcome to issue five of SEVEN/SEVEN! If you’ve read our previous issues, you will know that we are big supporters of the Australian creative industry, featuring the best up and coming talent we can every issue. So when it came to putting together this one, we decided why just feature one creative from the industry, when we can do a full-issue focus?

Thus, the industry issue was born!

In music, we have the biggest feature selection in SEVEN/SEVEN history - speaking with Melbourne band, Calling All Cars, Sydney

singer/songwriter/producer, Elizabeth Rose, We’ve focused very intently on the arts in a n d S e a t t l e - b o r n / A u s t r a l i a n - r e s i d i n g culture, with interviews and features on Isobel

songstress, Kym Campbell, and a bumper Knowles (Artist and musician extraordinaire), reviews section featuring new records from The the future of projection art, and seasoned Temper Trap, Olympic Ayres, and Jackson photographer (and new columnist) Russ Benning speaks about amateur vs. prof essional Firebird. photography.

In fashion, we have a fantastic editorial,

featuring the talents of designer, Amelia Until next time!

Agosta and the beautiful model, Paige Royal.

In addition to the spread, we also have interviews with the two ladies, as well as Sarah Willcocks of StyleMelbourne, creative industry all-rounder, Corrine Grbevski.

ge i a P

music /ELIZABETH ROSE/ CALLING ALL CARS/ KYM CAMPBELL/ REVIEWS: /THE TEMPER TRAP/ OLYMPIC AYRES/ JACKSON FIREBIRD/

ELIZABETH

ROSE

WORDS: PAIGE RICHARDS You have already heard her additive track, ‘Ready’ and have seen her support some fantastic acts, but with a new EP slated for release soon, as well as some high profile collaborations in the works, get used to hearing a lot more about Elizabeth Rose. We spoke to the 21-year-old Sydneysider on the eve of her first national tour to talk about her music, influences, and what’s coming up next for her.

How would you describe your sound?

I’d call it alternative-pop, but it’s also quite electronic at the same time. Alternativeelectronica-pop.

Your music is very textured and layered; what kind of process goes into creating a track?

I find that I always start by laying down a beat; it’s the most exciting part for me because I’m really excited by rhythm. I start with that, then I do the bass line and create a feel for the song with chords and samples around it. The last thing that comes is the melody and lyrics.

I’m quite a perfectionist, so it does take me a while to get a track to where I’m happy with it.

That’s probably why there’s a lot of things going on in every track!

Which artist/band has had the most influence on your music?

You have remixed tracks for artists like Flight Facilities and Jinja Safari; is there anyone on your wishlist to remix, or produce for?

Yes, and it’s actually happening! I’m working on a Chairlif t remix at the moment―I supported them back in February for their Laneway [Festival] side shows in Sydney and Melbourne, and become friends with them, and said “I’d love to do a remix for you guys” and they said sure, so they sent me over a few stems of their track and that’s what I’m working on at the moment. To produce with, my dream goal would be to work with Björk someday.

You’ve had a lot of successes in your career, and in the last 12 months―what has been the highlight so far?

There’s been a lot of highlights, like one after the other! I guess the first big jump for me with playing Parklife―that’s a festival that I love to

A whole lot of different artists; I listen to a wide spectrum of genres and draw inspiration from a lot of places that people probably

go to and see acts―I remember getting that email [to play Parklife] and just screaming at work because I was so excited. After Parklife, I had all these people wanting to talk to me

wouldn’t think that I would. In high school I went through this phase where I was completely obsessed with Joni Mitchell. I think because her songwriting is alternative, to me,

about deals, management, and other festivals, and other gigs. The first time I played Metro Theatre [supporting Jinja Safari] in Sydney was amazing, and a great experience. It was

in terms of the chords she uses and her lyrics. I was really attracted to her skills in songwriting.

But the most electronic/dance side of things

packed out and I was so scared, but once I got on stage, it was so fun.

[comes from] going up listening to my brother djing, playing tracks from The Chemical

Another highlight was meeting Wally [De Backer aka Goyte]. I love him. I met him at one

Brothers and Prodigy―lots of break-beat, more

of the Triple J awards parties, and we met up again after we’d both played Field Day. He’s so approachable, so I just got talking to him

intense dance acts.

Contemporary acts that I listen to, and draw inspiration from include Björk, The Knife, Chairlift, SBTRKT, James Blake, and Flying Lotus.

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and asked if I could send him some demos of mine and he’s been giving me a lot of feedback, which is amazing and it’s really helped me. I’d love to work with him one day as well.

With radio stations like Triple J embracing your music, do you feel that there’s a shift within

And finally, what’s coming up next for you?

the industry, placing more interest and focus on independent musicians?

A lot! I’ve announced my first national tour, and my second single will be coming out after the tour, towards the end of June. The EP will be

Yeah, I feel that, definitely. It seems to be the thing to do now, especially now that record companies aren’t flourishing the way they used to. But there’s definitely a bigger focus on

released in July. Hopefully I’ll be doing some Splendour In The Grass sideshows, and I’m hoping to get on the Grimes tour; I really want that! I’m also really excited to say that I’m

independent artists, which is good! The way I see it, it’s the best way to start from the ground up; it’s what I’ve been doing since I’ve started―putting songs up on MySpace, and

recording a track with Flight Facilities which will be their summer single, so that’ll definitely be out in the next 12 months!

now Soundcloud...I’m happy to go independent for the time being, but I think the bigger picture is attracting attention from an international label, which I’m trying to do at the moment.

At the start of next year, I really want to travel overseas, and hopefully I can lock in some

I’ve had a bit of interest from publishing com panies, management, and booking agencies from the UK, so that’s exciting.

management. I’m really excited for the next 12 months.

Elizabeth’s single ‘Ready’, and the Ready Remixes EP are out now, available on iTunes.

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CALLING ALLCARS

WORDS :NIKITA ALLAN For Melbourne-based band Calling All Cars, the dreaded ‘second album syndrome’ simply knocked on their door and welcomed them with open arms.

Dancing With a Dead Man is the bands second album after releasing Hold, Hold, Fire in 2010 with it debuting at number 20 on the ARIA charts. Their success has jumped from strength to strength in the past six years, opening for, and touring with bands such as Green Day, AC/DC and most recently the Foo Fighters as well as playing Big Day Out and many other festivals. I got the honour to meet the boys at their Melbourne Hi Fi sound check to ask them a few questions about the past, present and future of the band.

I’ve seen Haydn, James, and Adam perform in three completely different venues before that night. The first being in my home town at a small local pub back in 2010, everyone was talking about this great new alternative rock back that I should check out, though being underage I had to stand outside and listen but what I heard, I really enjoyed. The next time I saw them was almost two years later at the Adelaide oval, they were then supporting the Foo Fighters on their national tour, quite a step up from a country town pub. After seeing them do a 20 or 30 minute set I knew that I had to see them at the 2012 Big Day Out and what a show it was. These boys have such amazing energy and charisma onstage that it’s hard to believe.

So it was a little bit daunting that I was going to meet the boys. Arriving at the Hi Fi I made my way downstairs where the boys were just finishing up sound check with their classic first album hit ‘She’s Delirious’ and a song I’d never heard before, a new track they had written for their next album. All three of us sat down and what was supposed to be an interview turned into a friendly conversation about gig exper iences, haircuts and similarities.

The Delirium Tour was Calling All Cars’ last headlining tour for 2012 and saw them performing 11 times around Australia to packed venues with support bands Arts Martial and Strangers. So what’s in store now?

“We’ve been writing songs already and are going to go straight back into writing after the tour for the next album” says front man Haydn Ing, and as for a date? Well, bassist Adam Montgomery hopes to be recording “by the end of the year, if all goes to plan”.

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The difference between Hold, Hold, Fire and Dancing With a Dead Man is subtle, but you can see that both follow different lines. The first album saw the band making a statement and the second saw them securing their place in the Australian music scene, showing that they aren’t to be messed with.

Haydn says he’s “excited to try some new stuf f” in t he next album wit h Adam exclaiming that the next album “probably won’t be as dark”, Haydn just laughs. “It wasn’t intentional at all… people kept asking me if I was going through a dark place in my life but at the time I was writing it I was just like ‘yeah, I’m all good!’”.

Dancing With a Dead Man saw a much different writing approach for the band, instead of writing and rehearsing the entire track and then going into recording, Drummer James Ing explains that “for the latest album we did a lot of writing, well the majority of the writing in the studio when we were tracking demos.

That gives you the opportunity to write something, record, stop, listen back and do that instead of writing an entire song then listen back to it. Which helps”.

As soon as I mentioned past tours and asked what it was like to tour with the Foo Fighters, their faces seemed to almost light up and every one of them had some little story that they remembered.

“It was…rad!” says Haydn, “everything you hear about Dave Grohl being the nicest guy in the industry is pretty much true. He’s the same guy off stage as he is on stage, just full of energy all the time. He would always ride his bike to the venue in shorts and a singlet!”

“He’d just be like ‘Yeah, I’ve been riding up and down the river for an hour and a half’” says James, “And we’re like, ‘….he has to go and jump around for three hours’, he’s amazing” according to Adam.

As for Calling All Cars’ pre show warm up?

Haydn explains that “sometimes you just have an awesome crowd and you don’t really have to warm up because the energy is there but if there’s a flat vibe you just have to get out there and lift it up.”

Adam leans over and laughs a little, “We do a lot of stomping around and jumping up and down. Oh, and a lot of yelling!”.

It seems that Haydn is right though, their audience is usually ready to tear each other, or even Haydn, a part as soon as they hit the stage.

At this year’s Sydney Big Day Out, during the second song of their act, Haydn decided to jump into the crowd. This was something usual for Haydn, something that happens at most near every Calling All Cars gig, yet this one turned out

a little different. After jumping in, a stray audience member’s elbow came in contact with Haydn and knocked him out cold, leaving him unable to respond or even remember what happened or where he was. Their set was then cut short.

A few days later they returned to play the festival at Melbourne, no one would have even known that Haydn had incurred a concussion only a few days before. Driving guitars through amps, jumping from stacks, throwing pieces of the drum kit into the crowd and even himself it was something amazing. Haydn admits, “Yeah, I was a bit sore for that”, it didn’t seem to stop him though.

It’s as if nothing will stop these boys from putting on an amazing show, “I mean, how many bands are at Big Day Out? 40 or 50? So people are going to go and see a million bands that day then it’s like they are going to remember things like ‘what the fuck was that’? You’ve got to try and do things that people will remember you by...” he just laughs, “..I don’t know if that’s a good thing or not.”

It’s not just their stage performance that has led them to gain such a strong and dedicated fan base. Their interaction through social media and YouTube has made them a hit with the public.

“You’ve really got to be online, heaps” says Adam about previous video diaries, “to be cool or interesting at the time...but it’s not that time anymore”.

James adds, “People just have shorter attention spans. You just have to have something new and exciting to make people want to come back”.

“Plus, we’re clowns most of the time… we just like to entertain ourselves.” replies Adam.

This idea of entertaining themselves has led them to having a major influence in their video clips with most of the ideas coming from them. They talk about how they are “used to performance video clips” and just playing in front of a camera but they wanted to change it up a little bit.

From this has spawned their strangest video clip of all, ‘She’s Delirious’. They all just laugh as soon as I mention the fact that after seeing the clip I feel repulsed by drinking milk or eating fried chicken. Haydn apologises while still laughing, “Yeah sorry, the milk and chicken was our idea.” We had a few more laughs after that and it was time to leave.

It was 10.30pm when Calling All Cars hit the stage, opening with ‘Disconnect’, the crowd went insane.

They continued to play all the favourites including ‘She’s Delirious’, ‘Hold, Hold, Fire’, ‘Animal’, Not Like Anybody’, ‘Reptile’ and a new unnamed song. Of course, they didn’t just play the songs and leave. The set saw Haydn standing on top of the mixing desk in the middle of the room for a couple of songs, Haydn scaling the stair case only to hang off of it, Haydn walking into the crowd to play a song and Haydn pouring beer over his guitar, drive it through an amplifier, rip off a string, swing it around his head and then throw it behind him. Haydn was a very ‘entertaining’ performer.

The crowd went crazy and there wasn’t a spare space left in the Hi Fi, filled with fans, friends and family of the band with the bands producer, Tom Larkin even making an appearance.

The show finished and the boys all came out to meet everyone, take photos and have discussions with anyone that was up for it.

At the end of the interview I asked if there would be any secret shows to test out new material before the album dropped and it was Adam’s

[Asking] there would be any secret shows made me realise just how normal and down to earth these guys are. “I always feel like you have to be this gigantic band to do something like a secret show, they’re just like a big ego boost”. response that made me realise just how normal and down to earth these guys really were.

“I always feel like you have to be this gigantic band to do something like a secret show, they’re just like a big ego boost”.

Haydn explained that “it’s still too early to really tell but we might do a couple and just do first in best dressed, we really don’t know yet.”

So it looks like the studio will be home for Calling All Cars in the coming months and I strongly suggest you purchase the first two albums in preparation for the next. With Tom Larkin possibly at the producing wheel once again, there’s no telling how this album will turn out. All that can truly be known is that will most likely be just as impacting and heavy hitting as the last two.

Dancing With a Dead Man is out now.

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Kym Campbell Words: Nilushi Warusevitane & Paige Richards Often described as the ‘female Jack Johnson’, Kym Campbell is making a name of her own with the release of her latest album, Real Life.

With her sunkissed tendrils of blonde hair,

Although being quite young, Kym has

tanned skin and surfboard never out of

accomplished quite a lot within her time in

reach, Kym Campbell is the quintessential

the industry, with several EP’s released,

surfer girl. But it’s a lot more than her

and many contributions to sur f

image that’s getting her noticed. Often

documentary soundtracks.

touted as the ‘female Jack Johnson’, Kym’s brand of laidback acoustic tunes are setting her apart in the industry full of over styled (and often undistinguishable) pop stars.

Naming Ben Harper, Bob Dylan, Michael Franti, and Sheryl Crow (among many

Kym’s easy going music captures the true essence of surfer, and to an extent, Australian culture with her unique vocals and instrumentals.

o t hers) as influences, Kym’s sty le transcends just the ‘surf rock’ genre,

Kym began recording for Real Life back in

showing that she is not one to be pigeon-

December 2010 in Melbourne for this

holed.

album, after adopting Australia as her

The guitar-playing beach babe has just set out on her first national tour in Australia in support of her latest record Real Life. This came as a relief for her eager fans after she announced on her official website that her “new EP ‘Take A Stand’ which was [supposed] to come out in May is getting a workout.”

The tour is not her maiden

voyage, however, with several tours of Japan already under her belt.

Although a self-confessed ‘late starter’, only picking up a guitar at 20, Kym has become respected recording artist in Australia after becoming a finalist for in the Top 10 Music Oz Awards for Best Singer/Songwriter in 2008 along with signing with an Australian record label.

new home after moving from the US. It truly has been worth the wait, as the end product is a polished, personal, and very addictive listen. Like many of her songs, the sweet tunes of guitar and the harmonica will remind you of the sunset and the golden sand surrounding the beautiful beaches of Australia which Kym has become a fan of.

Kym’s easy going music captures the true essence of surfer, and to an extent, Australian culture with her unique vocals and instrumentals.

Kym is currently touring nationally on her Real Life Tour. Check out Kym’s tour dates and venues on her official website: www.kymcampbell.com/ and Real Life is out on iTunes now.

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/REVIEWS

KYM CAMPBELL REAL LIFE Words: Paige Richards Real Life consists of eleven songs, reflecting

‘Anybody but You’ showcases Kym as a

on life, love, and everything in between.

vocalist, with runs that show a range that sounds as if it’s been cultivated all her life,

Falling somewhere between Michelle Branch

not just since she was 20.

and Sheryl Crow, Kym’s unique voice and musicality is definitely something to escape

The beauty is in the minimalistic approach to

the current winter blues and dream of

the recording, with the main feature on

somewhere you’d rather be.

Kym’s voice, and guitar talent. With overt production, the charm may have been lost.

Standout tracks ‘Real Life’ and ‘Preview’ showcase Kym experiment with classic

Having toured in support of acts including

genres including Reggae and Acoustic Rock,

The Beautiful Girls, Ash Grunwald and many

and show emotional range within the lyrics.

others, it will be a thrill for her fans to get a chance to hear tracks from this album on her debut Australian headlining tour.

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/REVIEWS

THE TEMPER TRAP THE TEMPER TRAP Words: Paige Richards

Since the sugary-sweet falsetto of ‘Sweet

‘London’s Burning’, written in response to the

Disposition’ took over the airwaves in 2008,

2011 London riots, continues the deviation

The Temper Trap have been one of

from their debut, with heavy guitar riffs, and

Australia’s biggest indie exports. Their self-

Clash-like background vocals.

titled sophomore record is a departure from their debut, Conditions, with soaring guitar

If ‘London’ is their Clash tribute, ‘Trembling

riffs swapped for synths and a ‘fuller’

Hands’ is their emotional love song to Chris

soundscape, but it is sure to follow in it’s

Martin. With such raw emotion stemming

predecessor’s successful footsteps.

from Mandagi’s vocal delivery, it has an innate vulnerability that gives new emotional

The soaring opener and current single,

depth to the lyrics.

‘Need Your Love’ repurposes frontman Dougy Mandagi’s infamous vocals - no longer

‘The Sea is Calling’ serves as a bridge

the ethereal call of ‘Disposition’, but a fuller

between Conditions and The Temper Trap -

voice that wouldn’t be out of place singing

not straying far from the sound that brought

anything from Freddy Mercury’s repertoire.

them to prominence, but progressing with the

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new sound the band is creating. ‘Miracle’ is

undone the statement the band is trying to

not dissimilar, keeping with the minimal feel

make, and might have hindered them

of their previous work.

progress further.

‘This Isn’t Happiness’ is in line with ‘London’s Burning’, showing the boys ex p e r i m e n t i n g w i t h a m o r e ‘ r o c k ’ approach. It is one of the album’s top cuts.

‘Where Do We Go From Here’ is the most ‘pop’ cuts, with a danceability to it that wouldn’t make it out of place at Big Day Out. The only critique is the bouncy nature of the track undermines the reserved and defeated vocals. ‘Never Again’ follows this formula, but it doesn’t really seem to take off until it hits the chorus. The Duran Duranesque keyboards are a saving grace.

‘Dreams’ hits exactly where the heart of the band lies; intimate but intense, minimal but resonating. I’d be surprised if this doesn’t

to

The brilliance of this record, however, is the balance struck between old and new - being able to evolve their sound and make room for further growth in the future, but without alienating the fans gained through their breakthrough track.

A lot of the credit should be paid to producer Tony Hoffer (Beck), trading in the lo-fi, chiming guitar for big synths, and crunchy guitars. Although this change may be polarizing for some fans, it is a necessary leap to have taken. Although having broken the international market already, they will always be held to the

end up as a single.

success of ‘Sweet Disposition’.

‘Rabbit Hole’ is a little softer, and the

The brilliance of this record, however, is the

simple guitar and vocals work very well - if it were intended as a callback to their debut, however, ‘The Sea...’ is a much

balance struck between old and new being able to evolve their sound and make room for further growth in the future, but

better example.

without alienating the fans gained through

‘I’m Gonna Wait’ is a slow burner, building

cloned and repackaged their debut again

as it progresses with heavy drums and

(which a lot of other bands may have been

controlled vocals.

pressured to do) and they’ll surely reap the

Album closer ‘Leaving Heartbreak Hotel’ takes the new sound of this album and runs with it, as if to leave it as the last note on the listener’s palate. A smart decision, as ‘Rabbit Hole’, or ‘Dreams’ would have

their breakthrough track. They haven’t

pay off.

Download: ‘London’s Burning’, This Isn’t Happiness’, ‘Need Your Love’.

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/REVIEWS

OLYMPIC AYRES EPISODE II Words: Paige Richards Following the release of their debut, Episode I, Sydney duo Kamaliza and mmiiddii, better known as Olympic Ayres have returned with the next installment, Episode II.

‘The View’ is a genre-spanning, breezy track that instantly can transport you to a summer party complete with Corona in hand and boozy dance moves.

With their buzz track, ‘The View’ quickly finding it’s way onto many an iPod (and onto the airwaves of Triple J), this is the start of a very promising career.

‘Lose You’ is so deliciously 80s, hold the cheese. Blending House, Synth Pop, and New Wave together may seem like it’s overworked, but on the contary, it still feels relaxed and the mix creates an incredibly infectious track.

‘River Song’ serves as the EP’s opener, and is a fantastical collection of sounds - distorted guitar, the amazing fanfare of the intro, and overall sunshine of the track is nothing like what is on the radio right now, and after hearing it, it really makes you wonder why the hell isn’t there.

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For more about Olympic Ayres, head over to olympicayres.com. Episode II is out now on iTunes and available for listening through the boy’s Soundcloud channel.

/REVIEWS

Jackson Firebird

Cock Rockin’ Words: Nikita Allan

Mildura blues rock duo Jackson Firebird

As for the album, it’s everything an existing

released their first album this week. The ten

Jackson Firebird fan wants to hear and what

track album, Cock Rockin’, was released

any blues or rock fan should be listening to.

early on themusic.com.au for all ears.

Hard hitting, raw power that drives you to want more and more.

The album is an amalgamation of everything that’s great about straight rock ‘n roll -

Though the album will bring an amazing

crunchy guitars, ballsy drums and wailing

sound there is still nothing like seeing the duo

vocals.

live in concert. Their headlining tour for their first album ‘Cock Rockin’ will see them tour

After returning from the UK where the band

both Victoria and New South Wales. This is

performed at both large festivals and

not something you want to miss. You can visit

intimate pub gigs they have now set their

their facebook page to find a show close to

sights on their first headlining tour.

you!

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fashion /SARAH WILLCOCKS/ PAIGE ROYAL/ CORRINE GRBEVSKI/ AMELIA AGOSTA EDITORIAL: / ENGINEERED DISTORTION/

sarah

willcocks

Within Melbourne’s fashion set, Sarah

event and it all went snowballing from

Willcocks is a woman with no need for

there. It was only years later that I

introduction. StyleMelbourne, a blog of

remembered telling my granddad that I

her own creation, is not only one of the

wanted to be a journalist as a small child

most reputable sources for anything

(among other pipe dreams like being

making waves within the industry, but the

fighter pilot or a fortune teller)—he

premier source of L’oréal Melbourne

bought me my first journal to get me

Fashion Festival, and Melbourne Spring

started.

Fashion Week. She shares with SEVEN/ SEVEN how

her experiences within the

industry, advice for those wanting to

What prompted the creation of your site, StyleMelbourne?

enter it, and what she wants to conquer next.

It may seem strange, since the internet is a world-wide network to focus on being

Could you please tell us about your start

so hyper-local. But I figure until we invent

within the industry? Has it been a

economic teleportation devices, there's

lifelong passion, or is it something you've

not much value in reading about a

found yourself loving later?

fabulous boutique opening in Paris or about a fashion show in New York if the

If the media industry was something that I

label isn't stocked here or readily

stumbled into, the fashion side of it

available online. It can be fun and

was something I definitely fell head over

fantasy-inducing and voyeuristic but most

heels into. I was always good at English

of us can't actually do much about it.

and Media Studies at high school so I

There was so much being overlooked in

thought I'd get into journalism when the

our own neighbourhood—like young

time came to chose a university path, as it

labels or an underground fashion show—

was harder to get into than Biology. Can

that the big glossy magazines based in

you believe if I wasn't a fashion editor I'd

Sydney won't touch, so I thought why not

be a scientist?! I'm still secretly a nerd.

start a little blog about these things?

M y fi r s t v o l u n t e e r w r i t i n g g i g

Being a "blogger" wasn't such a big deal

just happened to be covering a fashion

back then.

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Part of what sets StyleMelbourne apart

their own thing. I respect fellow

is that it is solely written from an

bloggers who produce original content

Australian gaze; what makes the

and aren't just in it to be socialites.

Australian industry unique?

Bonus points if they can actually write and aren't exactly model-adjacent. I

At our pinnacle, Australian fashion is

respect the team at Fashionising for

vibrant and youthful. Our isolation,

breaking the "Australian" borders and

relaxed lifestyle and opposite seasons

doing smart things online

gives us a somewhat removed view of

internationally. I also respect anyone

fashion; we don't have to take it all so

who can survive the week entirely in

seriously. I think there's a lot criticism of

high heels (I cheat and carrying ballet

the local industry for copying that is

flats in my bag; health over fashion as

some t ime s unwar ran t e d. T h e re ' s

blasphemous as

nothing wrong with giving customers

that may seem).

what they want and making what sells as long as you aren't straight up

Blogging has recently became quite

copying and put your own spin on

embraced within the industry, why do

trends and styles. Then again I think we

you think that is?

sometimes need to be allowed to give more constructive criticism in terms of

It is embraced, and it isn't. Some parts

quality of both high-end and high-street

of the industr y are needlessly

designs.

threatened by bloggers and some people are totally on board with blogs

Who do you look up to, or respect

(a little too much at times). I think it has

within the industry?

been embraced by readers because of the growing trend for individualism and

Despite rumours to the contrary there

wanting to see something different, not

are lots of wonderful, creative and

paid for and to hear different voices.

above all, nice people in the fashion

Blogging can feel more real, more

industry. Design wise, I look up to

personalised, like interacting with a

l a b e l s l i ke Ye o j i n B a e , W i l l ow,

friend. It can also be faster than

Limedrop and Arnsdorf who are doing

traditional media.

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Despite rumours to the contrary there are lots of wonderful, creative and above all, nice people in the fashion industry.

No matter how different you are, you can find someone your shape, size, style, colour or age online, creating amazing content and fashion looks that will inspire you. And if not you can always start your own blog!

Having

Having worked within the industry for over 8 years, and being involved in several major industry events, you are one of the authoritative voices for Melbourne's fashion industry; what advice would you give to someone wanting to enter the fray? I could write a book! Look at fashion images a lot. Read as many fashion books, histories and biographies as you can get your manicured hands on. Look at other people's work (search out of your comfort zone for these) and figure out how they wrote/shot/designed/styled

found

success

with

StyleMelbourne, and related ventures, Is there anything else you'd like to accomplish?

I have dreams of setting up other 'StyleCity' sites like StyleSydney or one for all of Australia one day. These will probably remain just dreams as it's a lots of work and I'm a bit of a control freak.

First I'm branching out and launching DrinkMelbourne soon. It's a side project about our luxurious cocktail culture in Melbourne but will still have a little bit of fashion. And I'm about to embark on a year of buying/wearing only Australian fashion as a project for StyleMelbourne.

it; then try to work out how you could do it better. In the early days volunteer and get as much experience as you can (hopefully while still studying) but always make sure the people you work with are worth it and creating inspirational works.

Promises of "exposure" are largely meaningless. When the time comes stop doing things for free unless you really love the project or owe someone a favour. You have to be adaptable to different looks, or in a writer's case different styles of writing, for different clients. Get used to living on tinned soup at midnight and energy drinks during fashion week. Be nice to everyone you meet (you can be kind and competitive).

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paige Pai g e Royal royal

She’s been the face of many campaigns, is the beautiful face and body in this issue’s editorial, and was recently a Miss World Australia national finalist, meet Paige Royal.

Did you always see yourself in the fashion industry? Could you tell us a little bit about how you got your start?

I have always had a love for fashion, and modeling was always something I was very determined about. When I was a child I would invite my family to watch my 'fashion runways' in the lounge room.

When I attended high school, I remember in class discussing what we wanted to do when we 'grew up'. I said "I wanted to be an international fashion model!". All the kids started laughing at me and the teacher replied with "Oh you are far too skinny to be a model.. They don't want skinny models anymore". I remember sitting there and thinking "Just you wait!" When I hit 15 I was approached to enter a model search and it kind of just went from there.

Has the fashion industry been what you've expected, or has it been a lot different? What's been your experience?

The fashion industry is such an amazing and creative industry and it is definitely an industry I plan on staying in after modeling. I would love to get into makeup! As for is it what I expected?

I honestly don't know what I expected!

Who do you look up to, or respect, within the industry?

There are so many people I look up to and respect amongst the industry. There is one person who stands out though, who is also a very close friend, Melbourne-based stylist, Christina Chloe. She is just such a powerful, strong and independent woman. If I ever need any advice, work related or personal she is my go-to girl.

What do you when you aren't modeling?

When I am not modeling I am either reading or watching documentaries (exciting, huh!). Other than that I spend most my time with my other love, animals. I live on a farm and the latest member of my family is Mr Pickles, the miniature pig who is now six months old.

You were a Miss World Australia national finalist —what prompted you to become a contestant?

I was heavily bullied during school for being 'weird looking and skinny'. When I was twelve I remember coming home from school crying, I looked in the mirror and said 'one day, you have to do something about bullying!". It has been a life mission ever since. I saw the pageant as a platform to raise awareness about bullying amongst schools.

You're passionate about several important causes including animal rights and bullying—do yo u t h i n k t h a t m o d e l s h o l d a c e r t a i n responsibility to be role models for their communities?

I b e l i eve m o d e l s h o l d a b o u t a s m u c h responsibility to be role models, as every other profession. We all need to do out part for the greater good of the community.

You're a frequent blogger; is that a medium that you'd like to explore further as a career?

Blogging for me has always just been something I have done to keep my family and friends updated with my travels and work! Although exploring it as a career in the future is definitely something I wouldn't rule out.

You've gained a lot over the span of your career —is there anything left you hope to achieve?

There are many things, I don't believe you can ever stop achieving! I am always setting new goals.

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Amelia Agosta is definitely one of Australia’s rising fashion stars. Charming the fashion crowd at this year’s L’oreal Melbourne Fashion Festival, and has providing us with the fantastic fashion featured in this issue’s editorial, this is only the start of a very promising career.

What's the story behind Amelia Agosta, the label?

My grandma had an influence on me from a young age; she taught me the foundations of how to sew and knit, so I began making basic accessories and garments for my sister and myself. I continued this interest in fashion throughout high school, however it wasn’t until I started studying the course (RMIT Bachelor of fashion and design) in 2008 after finishing year 12 that I became heavily involved.

I graduated in 2011 with First Class Honors, and decided to create my label Amelia Agosta, which currently displays the last two collections that I produced during university. Illustrating what the label’s aesthetic consists of contemporary designs that takes on both wearability, but also a conceptual approach to pattern making and construction.

What is the design aesthetic behind the label?

Amelia Agosta’s design philosophy revolves around structural designs and sculptural shapes that convey a modern and avant-garde aesthetic. Designing for the female body with a focus on exploring fabrication, whether it is with knits, stretch, woven and or contemporary nonwoven fabrics. Garments range from wearable to conceptual pieces, produced with passion and superior quality that utilises haute couture and hand tailoring techniques.

What were you aiming to achieve with this collection?

My graduate collection is titled Engineered Distortion. Informed by the architectural style deconstructionism, Engineered Distortion fuses together craft and technology. The collection

maintains intr icate patter n making and traditional tailor ing tec hniques t hrough sculptural forms, distorted shapes and hard and soft materials. Pushing the boundaries of fashion by adopting digital tools in the design and production processes. 3D body scanning and 3D printing technologies are instrumental in articulating sculpted forms composed of repetitive lines and geometries that wrap around the female body.

Overall the collection experiments with numerous fabrications, exploring the contrasts between hard and soft materials, investigating their ability to create structure. Varying from traditional fabrics like wool and silk organza’s to contemporary materials and non-woven textiles such as double interfacing, neoprene and 3D printed nylon. The overall aesthetic of the collection conveys a modern attitude with a focus on fine quality finishes. The clean and engineered finish of the 3D printed pieces also reflects back into the garments in the collection.

Every seam is bound, lined or neatly finished, which also transports back to the futuristic look.

When is this available to the public?

Just by emailing me if you are after something, or a specific piece.

And finally, what's coming up next?

Currently I am interning in Melbourne with designer Toni Maticevski and have been immersing myself in an array of projects whilst looking for work and saving. As I endeavour to travel and work/intern overseas, in London, Paris and or Italy, for a reputable fashion house, to continue to develop new skills and primarily grow and progress as an independent fashion designer.

My long-term dream, over 5-10 years time is to focus on producing continuous collections for the Amelia Agosta label.

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corrine grbevski

Corrine Grbevski is an industry all-rounder. An accomplished make-up artist, hair dresser, and now creative director, she speaks to us about all things creative and her experiences within the industry.

would pick the shots that would go on the website. We did this every week and I loved it; you really learn so much from being involved in each process. Although, saying this I’m just as happy to be directed on a shoot as being director.

Were you always interested in working within the fashion industry?

You've achieved a lot during your career, and have worked with people including Delta Goodrem; is there anything left that you want to achieve?

I had a flair for colour since a child; in high school I did mostly creative subjects including Design & Technology, that formed how I would approach briefs and create concepts. I actually didn't know you could actually study make up until one of my teachers told me; after that there was no stopping me. My mum also inspired me with her sense of style and how she would put together an outfit, I would watch her dress up for parties and balls and then came the time to do my course she was left with no make up, it all became part of my kit. I never thought I would be doing it for this long, its been awesome.

It's not that often that I sit back and reflect on what I've done and soak it up. I guess you do have to slap yourself sometimes and acknowledge it, otherwise its not worth it.

I've been fortunate to have worked with some of the crème of the Australian fashion industry. I’ve got to say though, the person I've always wanted to work with is my brother Robert. He's a 3d animator. As teenagers he and I would stay up late on a friday night watching rage, or up early on Saturday's watching TV Hits. We've always shared a passion for music videos, one day soon we'll work together.

How did you enter the industry?

Is there any advice you would give to anyone wanting to enter the industry?

Through the make up course I did you had to complete something like 100 hours of work experience, this got the ball rolling with building contacts (and my skills). The first few years I worked with some amazing people from around the world as well as Australia - Vidal Sasson London, Sony, Toni + Guy, Chanel.. I was working with another make up artist, Karen Hopwood, she encouraged me to study hair. I was 21 at the time and didn't want to spend 4years in an apprenticeship. At the time the only place that offered fast track courses was in Melbourne. I spent two solid months working on a scholarship application. I got so sick I ended up with laryngitis and had no voice when I went to my interview. I think it was to my advantage to be honest.

You wear many hats, the most recent being that of a creative director. How do you feel each differs?

I love being able to wear all three at once and then each on their own. Its great to be able to produce and direct a shoot, and I think from being a make up artist, often you find a photographer will ask you for your ideas or ask you for concept. When I had my studio in Sydney, I ended up shooting the look books for Thread People. I would do everything but model and make the clothes. Once I was told what designer we were shooting, I'd organise the model, do the make up and hair, dress/style them, and shoot each outfit. After each shoot the graphic designer and myself

Stay focused, stay determined and keep your vision clear.

Be yourself, no matter what. Accept that you wont be best of friends with everyone, but its okay. If you’re nice and work hard, get involved in as many jobs as you can people will see this and you'll be rewarded. Charge for your work! I think every artist should learn to be comfortable charging, invoicing and negotiating for jobs, even if its to cover your expenses. Don't gossip, its a bad personality trait. Do the time, each and every person has had to do the boring jobs; there is always an opportunity to learn something.

Finally, what's coming up for you?

Heaps! On top of freelancing, photographer Paul Phillipson and I are working on a hot ljewellery-focused shoot with some striking Melbourne models. I'm also doing a bit of teaching for Look Academy, and stepping into the culinary pool by doing a bit of food styling. A new project of mine is building the creative networks on Facebook for the Fashion, Film, TV, Theatre and Commercial media industries. Three months ago I launched “Melbourne Creative Network” now 600 members strong. “Sydney Creative Network” and “Brisbane Creative Network” also being launched, every free moment I have is spent maintaining them; creating events and projects. It’s been really exciting. Who knows, as weeks pass you might even be able to find a Adelaide and Perth networks too. Im not sure if I mentioned it, but I love my job.

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culture /LOOK! IT’S ISOBEL KNOWLES/TO INK OR NOT TO INK/ FUTURE PROJECTIONS/ BEYOND KONY/ OH, YOU HAVE A NEW CANON DSLR AND NOW YOU’RE A PHOTOGRAPHER?/

Words: Krystelle Harvey

Melbourne-based animator, Isobel Knowles, speaks to SEVEN/SEVEN about all the wonderful things that have been colouring in her world lately. The former Architecture in Helsinki musician and current performer of band, The Icypoles, speaks to us about how she came to be an animator and what characterises her overall creative practice. Isobel also took time to chat about her collaboration with Melbourne-based textiles artist, Cat Rabbit, on their exciting children’s book project, Owl Know How, her recent video exhibit at Brisbane’s GoMA, and what her current favourites are are in music, art and film.

Can you please describe for us what your

I had a lightbulb moment in high school. My

work involves?

mother is an artist so I think I always expected I would follow creative pursuits but

I create animation in the form of art

I hadn't really thought about it too much. It

installations, shor t films and creative

was a regular day in about year 10 where

commissions and most recently I have

we had to write a fake job application for a

collaborated on a children's book. I prefer

randomly selected job. I flic ked the

working with stop motion and have been

jobsearch book open to the first couple of

cultivating a handmade aesthetic. But often I

pages and randomly put my finger down on

combine it with digital elements too or

'Animator'. It suddenly all made sense to me!

digitally animated hand made objects

Animation is a great forum for exploring a

depending on the context and the technique

wide range of art making - painting,

required.

drawing, sculpture, story, sound, music - and bringing it all to life in a different way.

What are some of your inspirations?

How long have you been creating animation?

Inspiration really comes from anywhere! Most of the time when I'm making

I started in high-school so that makes it

an animation my priority is getting across a

thirteen years now! But I've been doing it full

feeling more than anything. The abstract

time just in the last three.

sensation that comes from interacting with things in the world. When I work with music I

What kind of adventures/projects have you

really try and find a visceral connection with

been up to lately?

what I'm hearing and figure out a way to express that visually. With the interactive

As I mentioned before, I recently exhibited

work I try to boil the interaction down to its

work that I made with Van Sowerwine in last

important elements and amplify them.

year's Melbourne Festival. The work is an

I often try to work the medium into the

interactive animated installation housed in a

concept also. For instance with the work I

stand-alone booth. It works by taking a live

most recently exhibited, It's a jungle in here,

video-feed of your face and putting it onto

a collaboration with Van Sowerwine, the

animated characters that are on a train

technology inspired the interaction we

involved in dramatic situations.

created, but we also drew from social politics and personal experience,.

At the end of last year I worked with my friend Cat Rabbit to create a children's book

What initially drew you to your current

called Owl Know How which has been

medium?

published by Thames & Hudson.

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That was an unexpected project that we're

and the latest BLU masterpiece, Big Bang

both very excited about.

Big Boom. I'm also excited about the animated loop project, loopdeloop.org.

I made a video version of Natalya Hughes'

People are submitting some great stuff on

painting for her exhibition that's currently at

there and it's such a nice idea to get the

GOMA in Brisbane. It is pretty crazy

animation community together.

looking. A pile of sausages on a taco wearing glasses in front of palm trees, ladies

Art: The William Kentridge exhibition at

legs, billowing smoke stacks and cheetahs.

ACMI is what I'm most looking forward to seeing when I get a break.

Now I'm trying to take it easy - just painting some pictures for an exhibition in June at C3

Music: I recently got a copy of 'The Shower

gallery. Painting is very relaxing so it's good

Scene From Psycho' complete collection of

to take a step back from the hustle and

recordings which is really crazy. It's like a

bustle of the big projects for a bit.

rock'n'roll version of a Carl Stalling soundtrack to a Warner Brothers cartoon.

Any musical projects/involvements as of late?

What do you find most interesting or exciting about being a creative artist/

I have a band called The Icypoles. We

practitioner today?

released a single last year and have an album on the way. We are a very slow

It seems that it's just much easier to share

moving band - all of us have other creative

work with the world these days than it used

outlets so things take longer than usual to

to be. Especially for screen-based work! It's

get things together but hopefully we can

also so easy to make connections with

finish the album this year and get it out into

possible creative employment and there's a

the world!

great sense of community that comes with that. There are also so many new avenues

Do you have any favourite films/artists/

for animation with new screen devices

musicians you've watched, seen or listened

becoming part of everyone's lives. The

to lately?

projects I find myself doing are all so different to each other I couldn't possibly

Films: I went to Speakeasy (independent

ever grow tired of it!

pop-up cinema) this week and saw some great shorts in the Wholphin collection. Tord

Owl Know How by Cat Rabbit and Isobel

O c h To r d , a s t o p - m o t i o n fi l m f ro m

Knowles is out now. Isobel’s exhibititon at

Sweden, was my favourite. Last years MIFF

the C3 Contemporary Art Space runs from

had some good things: I loved Tatamp by

the 20th of June through to the 8th of July.

Mirai Mizue, Viliam by Veronika Oberova

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To ink, or not to ink?

WORDS: Alex Rockstrom

That’s the question for so many young people as the popularity of tattoos only rises as a part of fashion and culture within Melbourne and around the world. The question is why? Tattoo art and body decoration in general is one of the oldest forms of art where in the last ten to fifteen years there has been a boom in the market. However, do people looking to get a tattoo think what’s the point when it is now a fashion statement rather than a meaningful piece of body art? The craze is an interesting one and draws much interest due to the fact it affects laws, youths, health and body insecurities.

People back ten years ago to thousands of years ago more often than not got tattoos to represent something meaningful, whether it be for family, death, religion or love, the tattoo represented something important. This was more than likely the reasoning for where the idea of body art originated. Just like art on a canvas, it’s painted for a reason and will contain some personal meaning. Tribes tattooed each other to show unity or family where it was a part of their culture.

Now, in our western civilization, our culture is to still get the tattoo but perhaps the meaning or understanding of the art has been lost. According to the Department of Health and Ageing, one in ten Australians have had a tattoo at some point where some ten percent of people say they were under the influence of alcohol or drugs during the procedure. This is quite a large stat and for a fashion statement seems quite extreme seeing it’s permanent. This isn’t someone drunkenly buying a Gucci handbag and regretting it the next day.

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The health factor is now a thing of the past when it comes to getting a tattoo. Previously, people were put off at the notion that they may pick up a disease with the needles as tattooing as an industry was less advanced. Nowadays, the industry is doing well and most places would seem to be quite safe. Money was another factor.

People are spending thousands of dollars on decorating their bodies spending their weekly pay on a sleeve or sock tattoo than runs from toes to tips of shoulders. With there being very little accurate evidence on the true statistics of the growth of tattooing in Australia, it took a one hour coffee observation on Chapel Street to realise the extent.

Within the hour it was counted that one in two people walking past had an obvious tattoo. With this in mind, most of the passer-bys would’ve been between the ages of 18-35 years old. Either way, there was no doubting its popularity. The really interesting statistic is on the reasoning for the tattoo.

In the USA an online poll was done where 43% of people said they get the tattoo to represent something personal where 36% said they get the tattoo because they are addicted to ink or enjoy the feeling of it. Once you pop you can’t stop.

In another five to ten years will we be talking about tattoo addiction? And will the new fastest growing industry be tattoo removal?

Obviously, body image is a huge factor in getting a tattoo. It’s a sign of rebellion and can be interpreted as purposely defiling your body.

This is where a tattoo goes deeper than the skin.

Questions can be asked on how it directly relates to the person and in the case of children under eighteen, is the tattoo a new form of rebellion against parents and school without them truly knowing what they’re doing to their bodies? The law in most states is that you have to be at least 18 years old to legally get a tattoo. Northern Territory is the only one that has no law where Queensland the age is 17 and in New South Wales it’s 16. This law obviously

isn’t stopping anyone and with many idols, whether they’re footy players or celebrities or pop culture icons, are filled with the promotion of tattoos. They’re everywhere and the craze shows no sign of slowing down.

In general, the tattoo is seen to bring confidence and with its rise in fashion is also seen as a style and appears attractive to the opposite sex.

People will do it if they think it’s cool regardless of the personal meaning. Statistics might say that the art form is losing touch but they also show that it doesn’t matter and more growth seems immanent. It’s hard to know whether to ink or not? There are many reasons for both sides but importantly, it’s always going to be a decision for the individual, and so if you want to do it, you will. No law, or parent, or societies rules will change that. The only thing that will change is fashion. Hopefully, it stays trendy for a while or at least until the price of tattoo removal goes down.

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Words: Nikita Allan

Susan Howe, the name doesn’t ring a bell but this woman is doing more for the people of Uganda than we could ever be aware of. Howe is situated in a small Ugandan town named Mpumudde where it seems she has done more for the community than any internet-based charity could. Uganda has been a second home for Howe after she relocated there from Mildura in late 2008 and says that ‘life was a struggle’ on first arriving there. Living in a rural area ‘half an hour from the closest shop’ she says it was hard to buy food ‘other than bananas and pineapples’. One day, after being invited to a local meeting where a group of people were studying Community Development, Howe learnt about village life, the effects of poverty and cultural restrictions. Howe was then asked by the group to set up an English class for a group of women who had relocated from the Kumi District to Mpumudde.

“Most of the women had suffered a great deal…

Kony made raids on their villages. The headmaster had been killed and children had been kidnapped and used as child soldiers”, Howe says. Despite it being over eight years since the raids the women only returned briefly to Kumi to harvest crops as “they didn’t feel safe to move back permanently” and some are not ready ‘psychologically’ to do so.

“They have nightmares, they’re afraid to be alone”, says Howe.

The English classes began to grow after Howe took a trip to Kumi District and she then started the project in two more districts with 10 more teachers helping her to do so.

Howe says she hears from the students who say it is a wonderful project because ‘women now have the chance to go to school and learn English’, which may never have been possible if it weren’t for Susan.

Frida Mwaka is a woman who attends an English class run by Howe. Ten years ago Mwaka lived in a village north of Gulu where life was ‘good’.

Her husband and five children had a small farm which grew most of their food and sometimes had enough left over to sell. Eight years ago the LRA struck suddenly in the night, killing her husband and some of her family and neighbours.

Mwaka fled with her children and ended up in Jinja town where she became ‘afraid and confused’ because she didn’t know ‘how to live this kind of life’ ‘I know how to live in a village, how to look after chicken and goats’, says Mwaka, ‘I know how to dig in my garden. I do not know how to live in the town.’

Howe has known Mwaka for 3 years now and believes she is ‘very artistic’, selling her craftwork which includes paper bead necklaces and cloth bags here in Australia which helps to fund her projects.

Most everyone is unaware of POSHU (Projects of Susan Howe) but because of the recent Invisible Children ‘Kony 2012’ campaign, many have

p/ 60

realised the devastation that has been caused in Uganda and surrounding areas.

The ‘click’ campaign was viewed by over 90 million people all over the world and has received a lot of negative criticism with many believing that it’s ‘too late’ or that Invisible Children cannot handle their finances and hardly any donations go towards the actual cause.

As someone on the front line of it all and knows just how terrible it can get, Howe too believes that it’s ‘too late’ and that the ‘colourful posters only glorified his name, making him look like Che Guevara’ which is ‘what Kony wanted’.

Despite this, many still pledged, wrote to local ‘famous figures’, donated and bought the pack.

Most people didn’t look any further into than what was on the video in front of them, not realising that Kony and the LRA had left Uganda a long time ago.

Howe says that Kony and the LRA are no longer the biggest threat in Uganda and major threats to the community are ‘malaria, disease, lack of clean drinking water and general poverty’.

In Uganda, bacterial diarrhoea, hepatitis A, typhoid fever, malaria, plague, schistosomiasis and rabies are seen as high risk infectious diseases and with 49% of the population aged between 0 and 14 mixed with the high level of poverty it is understandable why they are becoming major threats to human life. People are unable to afford treatment for themselves or their children.

In 2009 there were 0.39 beds to 1,000 people in Uganda and 0.117 physicians to every 1,000.

Howe is starting to make life that little bit easier for the people of Mpumudde, Kumi District and other surrounding areas because ‘how do you resume a normal life after the LRA has left?’ she asks.

Starting a partnership with the Mpumudde Estate Primary School, Howe and her team have established a community library, installed electricity and provided a computer a printer for the school, including paid training for staff. They also continue to pay school fees for five of the poorest students.

Howe and her team haven’t done this on their own though. Her daughters Elizabeth (18) and Jenni (21) back in Australia have raised money by selling things like cloth bags and paper bead necklaces to the community with local businesses like the Clove Organic Shop and the Art Vault also selling items to raise money.

The team also collect donations of books, stationary clothes, sports and gear from people back in Australia that are shipped in bulk and given to the children so they are able to have everything they need to attend school.

‘Life in Mupmudde is much better now than when I first went there in 2008’, says Howe, ‘I’ve set up a lending circle with 30 women and some men from my English class, they all had very small businesses in the Mpumudde market, selling vegetables’. All have repaid their loans back to Howe and she says that when she returns to Mpumudde in August she will see if it ‘is necessary to give them another small loan’.

Susan Howe is making a direct impact in Uganda and says that ‘the LRA is no longer a threat in Uganda, but thousands of children and their families have been scarred for life’, that

‘children need counselling and care’ and this is what she is doing. Howe knows what the people need and she knows how to give it to them.

‘The [Kony 2012] campaign took off because the promoter tailored it to young computer literate western teenagers, it gave them the false impression that all that was needed to stop Kony was for a lot of enthusiastic, energetic young people to click “like” on YouTube and donate money. It’s a lot more complicated than that’.

The sewing and English classes are still running as they are extremely popular with people who ‘walk for miles to attend’. The people of Uganda are now able to make and sell clothes to sustain a better life.

Howe is back in Australia right now visiting her children and husband who is a Red Cross delegate to Haiti and will return to Uganda in August.

‘The real Uganda is a fantastic place, a good, safe place for tourists. But still affected by corruption and lack of basic medical and education facilities’.

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Art grows with age, time and technology.

Crafting new art is something that young artists strive to accomplish where a noticeable change has begun to appear.

Video projection and the manipulation of video art for installations has been around for a while but perhaps in the last five years or so it has become a more popular form of art. Even the idea of projections and holograms has filled our world with 3D films, TV’s and live projections on stage.

Recently ACMI in Melbourne brought out an exhibition by William Kentridge, a South African artist that used charcoal drawings with live animation, stop motion film and puppetry. For the exhibition, there was also use of projection art where it was a great example of art moving from a pencil on paper, to projections on a screen with live puppets and generally a lot more going on visually. Perhaps with the growing society we need more going on to be interested and keep up with our shortened attention spans? A simple drawing just doesn’t satisfy any more. Kentridge however, showed that his hugely meaningful work could be ex p r e s s e d u s i n g a n d m a n i p u l a t i n g technology that wouldn’t have been accessible as a young artist back in South Africa. The final part of the exhibition was a clever use of multichannel projection as well as an installation of eight projected film fragments t hat examined Russian modernism.

Nowadays, with technology and the huge availability of resources to young people, projection art is growing. Young singer/ songwriter/DJ Chet Faker has recently been

p/ 64

touring doing what most young musicians love to do, which is per forming to audiences. What has made his performances more attention grabbing has been the use of live projection art that coincides with his music. Young visual artist Thomas Russell has been collaborating with Chet Faker to showcase not only musical talents but also the talents of a young artist.

The live projection art is a fantastic idea that is making the live performance more and more compelling and may be a growing part of the live performance culture. As it is live and done practically in front of you, every performance is unique.

He is able to use different tools, cameras, visual effects, puppets, shadows and anything he can get his hands on to enhance the show. What starts as your everyday live music performance, turns into a beautiful mix of music combining with art.

In talking to Russell about his art he strongly believes that this is going to be the way of the future. Starting as purely a visual artist doing drawings and paintings, he may have found his niche in projection art.

Most people have loved the idea of 3D cinema where it’s been around for a long time with IMAX. Now everything is in 3D and people have already begun to lose interest. It’s undoubtedly great technology and definitely enhances certain films but the idea of 3D images outside of cinema still amazes an audience. The Gorillaz are a visionary band that started something no one had seen before. A band made up of car toon c haracters where a live performance by them meant you were basically looking at a screen.

Audiences went crazy for them and still do.

Recently, performing with Madonna at a music awards night the characters were projected in 3D forms on stage where a live Madonna was able to walk in front and behind them without ruining the illusion. The vision is amazing and was a jaw dropping moment for most. Even more recently and heavily publicized was the live projection of Tupac Shakur at the Coachella music festival.

The image was so real and lifelike that the extremely large audience gasped and went silent. Arguments have stemmed saying that it was “too real” and “shocking” for people to see someone who’s been dead for over 15 years performing in front of them again.

What it has said though is that this idea of 3D and use of projections in live performance is definitely emerging and will become more alive in the coming years.

It’s a scary thought sometimes how quickly technology grows. With technology always come new waves in art. Projection art and the use of 3D images is something we are not only witnessing in the art world but also in our general culture. The use of projections is expanding at a rate of knots with visual art making the switch to more complicated visual spectacles that incorporate projections amongst other trickery involving technology.

The idea seems to be expanding into live performances where this notion of “too real” may again peak its head up creating more headlines. The opportunities with this type of technology are seemingly endless where artists are excited to explore the limitations.

The future is far from bleak for young artists looking to explore the endless possibilities of projection art.

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Oh, you have a new Canon DSLR and now you're a

photographer

?

Words: Russ Benning

Eye to viewfinder.

you’re ready for the work, you’re ready

Focus.

to be paid.

‘CLICK’.

Chase Jarvis addressed a similar issue

The process is the same, but the

on how to be a professional

similarities end there. A photographer is

photographer. According to Javis’

paid for so much more than knowing

teachings, photographers need to

how to operate a certain piece of equipment. In no way whatsoever am I

register themselves, get a website, get business cards and start doing the work.

trying to discourage anyone from taking

This includes charging a fee based on

pictures—on the contrary; I think the

what your time and your work are

world is an amazing place and people

worth.

should take as many copies of it as possible. My point here is that there are people who do it for a living, and provide much more than the reproduction of what the eye can see, and as such deserve to be paid for it.

A professionals experience will create

If on location, choosing an appropriate setting is only the beginning.

Which is

the correct angle to shoot? What time of day is the best to fulfil the clients brief?

Should I use the sun as a backlight or a primar y light source, or both sequentially? What lens should I use to

better images before a single frame is

capture the whole bridal party and those

taken.

beautiful Mustangs?

Location, correct lighting and

gear, interaction with the subjects, including direction, and creative input are just the beginning.

You pay a

professional photographer because they are the masters of their trade. Using an amateur for a lower fee, or no fee is a risk taking process. Photographers absolutely must start somewhere but taking on jobs for free that would normally be handled by a professional is a dilution of the industry that benefits no one. Note to budding photographers: If you’re ready to start taking on jobs by

p/ 68

all means do it, just remember that if

These decisions should not be left to chance to the same degree as choosing the correct photographer, who, if chosen correctly will not leave anything to chance. I’m not saying that a pro won’t push the boundaries and try some things that could potentially create an ‘extra mile’ shot, I’m just saying that they will always utilise every element at their disposal to ensure the satisfaction of the client; based on their knowledge and experience.

Studio?

Completely different ballgame.

Generally speaking if a photographer has his/her own studio, they are a ‘photographer’.

Think of a doctor or a

dentist with their own practice; they’ve done the hard yards and earned their stripes.

The technical knowledge and

equipment outlays for studio photography are what separate the men from the boys so to speak.

The following paragraph deals with digital photography only. If you are time

Which is the correct angle to shoot?

What time of day is the best to fulfil the clients brief? Should I use the sun as a backlight or a primary light source, or both sequentially? should I use

What lens to capture

the whole bridal party and those beautiful Mustangs?

and passion rich enough to indulge in film photography, I extend my respect and jealousy your way. Postproduction is an element that draws a lot of heat in the photography world.

‘If you’re such a

good photographer why do you need to edit your pictures?’

These types of

questions generally come from ‘people with cameras’ who are more confused and upset about what to do with a RAW image, as they would be if they found a newborn in a basket on their front

and colour corrections to keep up with the current industry standard. While I’m on the topic of postproduction please take note: it is not an instant process! The shoot may have only taken two hours but behind the scenes is another beast in itself.

Multiple selection passes, colour

cor rection, removal of distracting elements and if required, special effects all take time. Please accept this as part

doorstep.

of the process.

There is no definite answer and every pro

Photography is more than capturing an

photographer has their own opinion on how much editing is enough.

The one

thing every pro will agree on is that having a consistent and efficient workflow is one of, if not the most important elements of being a photographer. In a

image; it’s capturing a moment - bringing together the correct lighting/composition/ direction, and no matter what technology the user holds, it means nothing without the knowledge and experience that comes from a professional.

And that, is

digital age the goal is as simple as ever;

what is worth every single penny of hiring

deliver the best possible product to the

a ‘photographer’ instead of a ‘person

client.

with a camera’.

This generally means retouching

p/ 69

LISTINGS

For anything featured in this issue; look no further! Here’s a guide to where to find the wonderful people involved on the world wide web!

EVERY ISSUE PHOTOGRAPHY IJ PRODUCTIONS www.ijproductions.com

OLYMPIC AYRES www.olympicayres.com

FASHION

HAIR/MUA NATHALIE PRINCE www.nathalieprince.com.au

AMELIA AGOSTA www.ameliaagosta.tumblr.com amelia.agosta@gmail.com SARAH WILCOCKS www.stylemelbourne.com

GRAPHICS KINGDOMS & WOLVES www.facebook.com/ kingdomsandwolves

PAIGE ROYAL www.viviensmodels.com.au www.modelpaigeroyal.blogspot.c om.au

MUSIC

CORRINE GRBEVSKI www.corrinegrbevski.tumblr.com

CALLING ALL CARS www.callingallcars.net ELIZABETH ROSE http://www.facebook.com/ elizabethrosesydney http://www.soundcloud.com/ elizabethrose KYM CAMPBELL www.kymcampbell.com

ǸȹȨȵɴ @ɄɑɜɑǸȨɜɕ

CULTURE ISOBEL KNOWLES www.isobelknowles.com PROJECTS OF SUSAN HOWE POSHU www.facebook.com/groups/ 132390770130523/

8ȨȝȣɜȃȵɤǾ @ȣɄɜɄȝɑǸɉȣɴ

4ɄȇȐȵ @ɄɑɜȘɄȵȨɄɕ @ɑȨɨǸɜȐ ɤȽȃɜȨɄȽɕ

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