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Cat MacInnes The Crafty Minx Deerhouse Pictures
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Creativity * Curiosity * Innovation About
Contents
Winsome Journal is about creativity, curiosity & innovation in all its varying forms. We want to delve into the ways both individuals and communities express themselves. We want to experience & understand otherwise unseen or unheard passions. We want to share it all with you.
Humble Be Workshop
04 - 07
Foods That Heal
08 - 11
Urban Art Binge
12 - 15
Deerhouse Pictures
16 - 17
NOTANOTHERBILL
18 - 19
Michael Candy
20 - 21
Back Stage
The Crafty Minx
22 - 27
Editor: Shannon Cant Graphic Design: Shannon Cant Web Development: Glenn Radburn Printing: Frankie at isprint, Redfern Proofing: Lisa Archbold & Ban Al-Attiyah
Raminganing
28 - 29
Humble Be Photography
30 - 31
Creator of Filth
32 - 33
Ben Smith
34 - 35
Contributors
Cat Macinnes
36 - 41
Kyle Bush, Michael Candy, Belinda Davis, Kelly Doust, Valero Dovel, Lucy Farfort, Emily Fong, Tim Fitzpatrick, Emma Gover, Cat Macinnes, Carla Muhl, Siobhan Nunan, Ned, Clare Reilly, Ben Smith, Mish Stark, Jade Thrupp & Johanna Underhill
Jade Thrupp 42
*To find out more about the Urban Art Binge artists, please contact info@urbanartbinge.com
Tim Fitzpatrick 43 Mish Stark
44 - 45
Lucy Farfort
46 - 49
Clare Reilly 50 Emma Gover Poetry
We would like to thank blog.laurenharrison.org for the delightful dotty pattern featured on our social media sites, Katrina from puglypixel.com, Tim Browning & guest photographer Neil Batterham.
Contact shannon@winsomejournal.com facebook.com/winsomejournal twitter.com/WinsomeJournal
Cover Cat MacInnes catmacinnes.com
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Valero Dovel 3
Humble Be Workshop with Kyle Bush
use the Humble Be Workshop identity to record and share “ Iwork that I do as a designer and photographer, but it is also intended to be a collection of resources and opportunities that allow anyone to explore their own understanding of, and participation in, the world around them.
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... This can be related to environmental awareness, but true sustainability considers social and economic aspects as well, and so the things that you might find on the website could be anything from where to find local food, to documentaries about global economic systems, to links to artists who engage in political activism through their creations.
How would you describe your own background?
Active, independent, transient, family orientated… responsibility laden. I come from a single parent family that had a family business from the time I was eight years of age, and so I learned from a very early age the meaning of responsibility and the value of hard work. Because my family unit was spread so thin I had to very quickly learn how to be independent and self-sufficient. I think these attitudes toward life in general shaped the way I approached education and employment as I grew up. As I started to make choices about my future (as you get forced to do way too early!) I was constantly questioning whether or not what was expected of me was what I actually wanted, and ever since I have been trying to find the answer to that. My education is in architecture and design, I have been lucky enough to travel and experience a variety of cultures in interesting ways through my study but also through my own exploration, and over the years have participated in a lot of hands-on work and learning which has made me appreciate craftsmanship, resourcefulness and creativity, as well as academia. I have also been drawn to teaching and have tutored for a few years in Architecture at the university I studied at (QUT) and have been involved in a lot of outreach programs aimed at encouraging equittable tertiary education opportunities for high school students through QUT’s Student Ambassador Program. Generally, I’ve put my mind to most things that I’ve started and have constantly been searching for ways to make things more interesting, engaging, and rewarding for myself as a learner. How beneficial and inspiring that can be is something I would love for everyone to understand so that they get the spark of motivation that is so necessary to pursue it for themselves.
compiling info and documenting my work with a bit more purpose and once the site went live, it was received really well. Under the ‘Build’ component of Humble Be Workshop is Kyle’s Ranch Keperra Project. “The Ranch is a post war timber home in north-west suburban Brisbane which has been modified a number of times since first being built. With three split levels all meeting at a semi-atrium-like space, northern aspect for the main living areas, odd little additions here and there, and 807 square metres of land, there is plenty to work with. The vision of this home is to retain the majority of the existing structure and make creative programme, spatial and material adjustments that will enhance its environmental performance significantly. It is hoped that The Ranch will become a showpiece of sustainable design and retrofitting by achieving entirely passive means of heating and cooling through thermal mass, insulative and natural ventilation strategies, and by using predominantly reclaimed and recylcled materials for all work done on the property.”
What is the typical daily routine at The Ranch?
We usually all wake up quite early and have breakfast and a cuppa in the back yard. One of us might go and let the chickens free, our neighbour usually comes around to give them her food scraps from the night before, I usually take a morning wee into the banana circle so the trees get a bit of breakfast too, and we just casually wander
What inspired you to create Humble Be Workshop?
It was actually just a way for to promote my photography in the beginning. I was trying to think of a brand that I could use as an alias for myself so that I could hand out little booklets of photos to galleries and cafe’s. After a night of drunken sketching the logo and name was sorted, then I started with the website so that I had somewhere to direct interested people to more images and info. I got a bit carried away with it and before I knew it I had put photos of all of the other design and build stuff I had been doing and started to think that maybe all of my other creative friends would like a piece of the action too. I had a chat to a friend of mine who helped me figure out exactly what I wanted to do with it, and I finally decided that for some reason I was compelled to connect the public to creative ideas and people, and to share the knowledge that I have gathered over the years about how to be thrifty and inventive in the quest to be more sustainable and active in our society. I started
around and check the garden to see if anything is ripe to pick or if there are flowers that need fertilizing. Then we go off to whatever we have on that day – my mum generally works from home so she retreats to the study and sporadically shouts out some useful fact
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or idea for the garden she has found on the internet while ‘hard at work’, my mate is living with us at the moment and he goes off to work for the city council or on days off will tinker with little projects of his own in the workshop, and if I’m not tutoring at QUT I will get stuck into whatever needs doing around the place. At the moment I’m preparing for a photography exhibition so I’m spending most of my days designing and building elements of the installation. Then when the night comes round we all have a big cook up and sit around the table for dinner before heading off to read or do a bit of internet housekeeping until bedtime.
Where did your interest in permaculture come from?
I actually used it as a framework for a major architectural design project I did while I was studying in the UK. The project was based in a South African township and the issues I recognised included local food security, health, detrimental gender inequality due to lack of integration between age groups and genders, individual financial security, lack of individual purpose and motivation – all of which can be addressed by engaging local populations in intensive productive enterprise gardening. From that point on I was enamored with Permacultural philosophy because it just makes complete sense, and it makes the current popular practice of modern society seem quite crude, absurd and misguided.
What is your hope for the future of permaculture?
I think that more and more permaculture is becoming a household word and we’re starting to see it pop up in alot of different places. Take Permablitz for example – A community driven initiative founded in Melbourne, but now seen all over Australia where volunteers descend on a household for a day or two and transform it into a productive wonderland. The Transition Towns movement is also a champion of Permaculture, and that is now making impacts globally. My hope is that Permacultural philosophy starts to infiltrate the professional sector to have influence over things beyond gardening, because despite the common understanding of it, Permaculture is much more broad than just how to grow food. It also deals with
concepts of economic structure, community planning, architecture and design, and can be applied to almost anything that functions as a system of parts – which is almost everything.
What is your vision for the future of The Ranch?
Much like the initial vision, it’s to see it become a showcase of experimental design and construction using reclaimed materials, an educational facility of some sort running workshops based around resource autonomy, creative building techniques, organic gardening, and to be a place with lots of different things going on all of the time. Since beginning the work here, we’ve actually had alot of interest from neighbours in the street, and that would be a fantastic thing to try and encourage. It would be amazing to see it become a local hub of activity and sharing where people from outside gained some feeling of ownership over the place and what it stands for. I also hope that it will be an ongoing source of creative experimentation and expression for me and anyone else who wants to be involved.
How could individuals become involved with The Ranch project?
We always welcome any input from anyone. The door is always open for people who are interested in what we’re doing and in learning more about how to do it themselves, and of course to share any insight or knowledge they might have. The best way would be to email me directly to organise a visit and we would go from there.
How do you see Humble Be growing and developing?
There is no way of knowing how the Humble Be Workshop will change in the future. I am going to continue to add to the info dump, use it as a platform for anything creative I do in the future and hopefully use it as a tool for creative networking through the creatives section of the site as that grows. Who knows...maybe one day it will replace facebook? I just hope it becomes a useful tool for people other than myself eventually. The dream at this stage would be for it to make it into someone else’s favourites folder.
What changes could the everyday person make in their own environment to become more self-sufficient?
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Having chooks is a huge step in the right direction. Hens are one of the most important parts of a sustainable living system because they give you a dense source of protein and energy every single day, they are basically a walking compost bin, if you contain them on a patch of land they will systematically get rid of the grass and weeds, turn the soil, and fertilize it for you ready to plant some food crops straight into. Get the boys (and girls too if they want) to wee in the yard instead of the toilet - a vast amount of our fresh drinking water gets flushed down the toilet everyday and the high amounts of nitrogen in your number one’s is to plants what spinach is to popeye.
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See how many times you can use water before it leaves your property – some people hook their bathroom sink up to the toilet cistern so their used sink water becomes their next flush.
Put your fridge near an open window so that it stays as cool as possible – appliances that heat and cool are the ones that suck all of the power so the less pressure you put on them the less energy they use. Also, only use the stove as long as you actually need to – eggs will boil hard if you just bring the water to the boil and then leave the saucepan off the hotplate for ten minutes with the lid on. To be self sufficient you have to meet the demand of your needs. So if you reduce your needs as much as possible the job becomes much easier. Do things like grow your own food, reuse as much as possible (recycling should be a last resort), ride a bike or walk instead of driving and very quickly your cost of living and your resource demand will drop dramatically.
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humblebe.net.au
self sufficient you have to meet the demand of “ Toyourbeneeds. So if you reduce your needs as much as possible the job becomes much easier. �
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that heal is about “ Foods promoting nutrition as a source of medicine, not only for humanity but for the healing of the earth. Our priority is to reconnect people with their food source, so that they will make wise choices about where their food comes from and what they put into their body.
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Foods That Heal Talking real, whole foods with Carla Muhl
Could you please tell me about your background?
I grew up in a supermarket culture, where we had no connection to our food source. Most of the time it was so confusing about what to eat! Consequently, I ate pretty unhealthily, surviving on processed, packaged foods that gave false promises of energy and vitality. A series of health problems in my early 20’s led me to a book called ‘Healing with Whole Foods’. This was the first time I had come across the notion that food can be medicine. I immedietaley started to deviate from the supermarket, as it was easier to find real, whole foods in small health food shops and farmers markets. My passion for cooking was realised when I read the book ‘Nourishing Traditions’. A recipe book that challenges the common notion of health food, this was my introduction to what I believe is ‘real’ food; organically produced, sourced locally and prepared according to the preparation techniques of our ancestors. This book inspired me to take action. It is now my day job to promote traditional, real foods. I do this at my market stall at the Mullumbimby farmers market and through my educational workshops which I run monthly in the Northern Rivers NSW.
How do you think processed foods and quick meals effect people in this busy world?
I think they are a reflection of the disconnection between humanity and nature. Processed foods no longer resemble their original form, they have been transmuted into something that it is no longer food, but an item of profit for large corporations. Not only are these foods harmful to humans, their production is having a negative impact on the environment and societies in the form of unfair production. From a health perspective, processed foods give us minimal nutrition, which leads to overeating and the diseases to come from that such as candida, indigestion and obesity. Furthermore, by eating them we are putting chemicals and all sorts of artificial things into our bodies.
What are the types of foods you suggest including in a daily diet?
Food that is grown with respect for people and the earth. this means organically grown and preferably local. food that is inspired by traditional recipes (soaking grains, fermentation) and hand-made with love is also very nourishing!
What kinds of benefits do fermented foods promote?
Fermented foods have been valued for their health properties for centuries. They are sources of beneficial bacteria, which are essential for maintaining balanced inner flora in the gut. This means a healthy digestion system that will also ward off pathogens that cause illness. Fermented foods also contain enzymes, which help
us to break down proteins so that our bodies can truly recieve the goodness inherent in the different types of food that we eat. The process of fermentation makes food more digestable, which means we spend less energy on digestion and have more for experiencing and enjoying life.
What is an example of traditional foods? Traditional foods refers to food as it was before industrialisation and capitalism, which turned food from a source of nourishment into a commodity. In general, traditional cultures consumed nutrient dense foods, nourishing fats, meats, whole grains and an array of fermented foods. Traditional foods also refers to cooking methods. Pre-soaking grains, fermenting dairy and fruits and vegetables and bone broths are all naturally prepared according to their traditonal, hand-crafted method.
recommend including fermented “ Ipickles such as sauerkraut and kimchi with each meal as this promotes effective digestion of all of the foods you are eating at that time.
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How do live cultures affect the digestive system for the better?
Live cultures are also known as pro-biotics, different strands of bacteria that have a positive effect on the digestive tract. By giving the gut a constant supply of pro-biotics, it becomes populated with beneficial inner flora. This means natural protection from harmful pathogens that cause disease.
What advice could you give for somebody who wants to eat more traditional foods?
Many traditional foods are still available commercially, such as sourdough bread, tempeh and artisan organic cheese. I highly recommend the book, Nourishing Traditions by Sally Fallon. It has easy to follow recipes and includes lots of information on traditional food methods. For those that don’t have much time to spend in the kitchen, they can purchase my hand-crafted traditional foods from my market stall. I also run educational workshops that demonstrate the methods for traditional foods. hands on learning is very effective when it comes to cooking and fermenting.
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Coconut Chicken Soup soup is mineral rich thanks to the chicken “ This stock nourishing and very delicious! It is the perfect remedy for a cold or flu, but I will find myself cooking it a few times a week.
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Ingredients
1 quart home-made or good quality organic chicken stock 1-1/2 cups whole coconut milk or 7 ounces creamed coconut 1/4 teaspoon dried chilli flakes 1 teaspoon freshly grated ginger juice of 1 lemon sea salt or fish sauce several green onions, very finely chopped (optional) 1 tablespoon finely chopped coriander (optional)
Method
Bring the stock to a boil, skim any foam that rises to the top and add coconut milk or creamed coconut, lemon juice, chilli flakes and ginger. Simmer for about 15 minutes. Season to taste with salt or fish sauce. Ladle into soup bowls or mugs and garnish with onions and cilantro and kim-chi. Serves 6.
What are some nourishing menu options for a busy person’s day? Breakfast: Wholegrain porridge prepared according to traditional methods (soak
grains in an acidic medium for at least 12 hours before cooking) served with fresh fruit, honey or maple syrup and butter/cream and yoghurt
Lunch:
Grilled chicken with home-made mayonaise and salad and sauerkraut. or eggs as you like them served with sauteed greens and sauerkraut
Dinner:
Vegetable soup and wholegrain sourdough bread and a lacto-fermented pickle
Snacks:
Pre-soaked nuts, fresh fruit, buckwheat crackers, live-cultured drinks.
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Urban Art Binge An interview with directors Emily Fong and Johanna Underhill
Could you please tell me about your backgrounds? Emily: I studied Architectural Design at the Queensland University
of Technology with my final year at a French University. When I was a kid I knew I was an artist. I could play and experiment with drawing and making until I’d spread my ‘work’ throughout every room of the house, driving my parents crazy. Though when the time came to choose a ‘real’ career I couldn’t see past the notion that I needed to earn money and do something serious. I started to doubt myself. So I studied architecture.. which seemed to tick several boxes. It wasn’t until I traveled to the other side of the planet that the screaming kid inside finally won. I completed my undergrad in Architecture in a small French town called Grenoble and this is when I really began to draw again. Draw everything, everywhere, all the time. I gave myself permission to let go. I let myself make unrestrained messy drawings. Once I did this I started to recognise that the mess was beautiful. Drawing became sacred time. It was my own. I love that. I want to share that. I am an artist, and I will try my hardest not to forget that.
“ Drawing became sacred time.” Jo: I studied art at the Queensland College of Art and majored in
painting. After my honours year I went to live in London and was so inspired by the vibrancy and diversity of the creative community over there and got to see some wonderful art. At the time I was making installation work as well as painting and worked at the Victoria and Albert Museum’s education program and online museum and also worked as a freelance workshop artist and project coordinator in schools and youth centres. It was a formative time for me being in the UK and being exposed to a lot of different experiences. I was diagnosed with cancer while living over there and eventually came back to Australia for treatment and to be with my family. When I got back to Australia I was so inspired to paint and draw. It was a major part of my recovery and I’ve been painting and drawing my experience ever since. I am currently the artist in residence at the Institute for Molecular Bioscience at University Queensland where they undertaken research into cancer and other illnesses. I have always been interested in representing the body and in this project I am exploring the body at a sub-cellular level from the position of survivor.
What is Urban Art Binge? J: UAB is a collaborative project between artists Emily Fong and
Joannah Underhill that aims to be both conduit and hothouse for creative development especially around drawing and painting as a way to document everyday life.
E: It’s a platform, or meeting place for making marks,
sharing experience and building community engagement around creative practices.
How did you get started on this project? J: We actually didn’t know each other before starting out on this
venture. We both went through the NEIS program to set up our businesses and were connected via mutual acquaintance there. Our first meeting was for a cuppa at Lady Marmalade in Stones Corner and over the course of a couple of hours, the project was born. We came up with the name at our second meeting and everything just rolled along beautifully and easily. We get on really well and have totally different skill sets so complement each other really well.
E: Put two artists together over a cuppa and BOOM! We were both at a place in time where collaboration was something that both our practices were yearning for. It’s very easy to get used to seclusion as an artist when you’re working away in your studio. So we’re putting ourselves out there. Together.
The idea of documenting place is wonderful. What is the importance of this for you? J: Firstly as artists or creatives of any kind, I think it’s important
to start with your own community. Documenting place is about documenting one’s unique relationship with that place in the service of sharing it with others and in the process offering a view and a vision of something that is seen everyday but may well be overlooked and not really SEEN. Documenting place is about stopping and really taking the time to look, to appreciate, to breathe in and re-create the world we live in and honour it through creative engagement with it.
E: Yes, the key here is time. We as people move very fast
these days, and so does the environment around us. Though there are many things that stand still long enough to ponder and to capture by mark making. Learning to draw is about first learning to see as well as look.
Will the visual map of Brisbane be shown to the public? In what kind of format? J: Yes! We have plans for an exhibition at Jugglers Art Space on the 7th December to showcase the work from the project. We are aiming to show the paintings and then a rolling slide-show of the drawings in a digital format and who knows, maybe coupled with some kind of performative sketching event on the opening night.
Put two artists together over a cuppa and...
Boom! 13
Who can get involved in Urban Art Binge? J: At the moment UAB workshops are open to adults of all ages and all skill levels so anyone can get involved. We have guest artists to teach sessions from time to time as well.
Do you need to have a background in art? J: No. Our feeling is that drawing is a skill just like reading and
writing, it’s a valuable tool for communication and expression and as such we want to see it available to as many people as possible. The mixed media painting is an extension of this idea and we have a really playful approach to teaching both drawing and painting.
What kind of skills will participants learn or develop? J: We cover drawing skills in terms of drawing tools and techniques as well as composition, perspective and contrast. In painting we teach technical brush skills and colour theory as well as how to playfully engage with a range of materials such as inks, acrylics and mediums. Participants develop a diary of images from the site sketching sessions and learn to interpret these onto a canvas or to creatively pull an image from loose and experimental mixed media play. The workshops also focus attention on what blocks us creatively and encourages a ‘letting go’ for people to start to find their own voice and individual expression and to celebrate that.
What kinds of materials do the participants use in the sessions? J: For the sketching sessions we use a
range of materials from pencils to pens and watercolours. For painting we paint onto canvas and do experiments on paper using charcoal, condies crystals, inks and acrylics as well as some household, domestic materials such as salt and rice to create interesting effects.
In what kinds of locations do you hold sessions? J: Our studio session are held at Jugglers Art
Space in Fortitude Valley, where we have a large well-lit gallery space in which to paint on trestle tables and access to easels if people want to use them. Our site sketches change each week and are focused on the theme for that particular block, for example, this block’s theme is People and Places so we have been to the West End and Powerhouse markets for sketching and also spent the afternoon sketching at the 2ballerina’s dance school which was amazing fun!
What is one suggestion you would have for someone wanting to get better at drawing? E: Buy a sketchbook and a soft pencil.. then
give it a go. One very important trick for drawing is learning to see.. not just look. Try not to judge too harshly which we, especially as adults are all too ready to do.
J: Often we stop drawing at a certain age and when we go back to
it as adults our skill level is still at the age when we stopped. As adults we are often frustrated or ashamed of this and being this way with ourselves hampers our progress. One of the best ways to improve drawing to make a commitment to do it each day, even if only for 5 mins and to promise not to judge the results. If you can look at drawing as a way to explore and understand what it is you are drawing and give up any expectations around what that ends up looking like on the page then your drawing will improve dramatically and quickly and be really enjoyable. Being present is key.
Some people are not ‘talented’ enough to draw - true or false? E: Big fat False! We learn to tell ourselves that we are not good enough from a very early age. Some people are just better at making a mess and being OK with that. J: Drawing is a learned skill just like anything. It takes practice. Our society also has preconceived ideas about what drawing is
and its relation to being an artist. If we looked at drawing as a communication skill like writing then everyone can draw and just as in writing there is a wide variance in individual expression.
Practice makes perfect - true or false? E: Perfection is boring. In all seriousness, the muscles in which you
use to draw, include more than just your hands. There is a level of hand and eye coordination that needs training. Practice improves these muscles and the signals that fire from your brain to your hand. There’s also a level of personal confidence that slowly develops over time through practice. With that confidence and muscle training comes the freedom to choose how you want to draw and to be more in control of the outcome.
J: False from the point of view of what is perfection? As Em says,
perfection is boring! However, practice is where you get to know yourself as an artist, where you get to find peace in drawing and just like getting fit, there are days when things flow more easily than others and that’s part of the joy and challenge of it.
What do you like to draw the most? J: I actually love drawing and expressing subconscious imagery that
spills on the page in a surprising way. I love expressing something through non-dominant hand drawing or in that bewitching time just when waking or going to bed. In terms of representational drawing, I love drawing organic and natural forms like plants, seeds and flowers as well as the human body.
E: Jo described to me that she thinks I have a compulsion to draw.. She’s right and it’s not dissimilar to OCD. I like to draw everything. It’s a throwback to my passion for and training in architecture but I love to understand the structure of things.
What is your most inspiring place in Brisbane? J: Good question! I love the Botanical Gardens at Mt Cootha and
could be there for hours sketching plants and tiny forms. I have loved the cafe sketching sessions on this block too, so civilised to sit around drinking coffee while drawing each other. The 2ballerinas was probably my most inspiring drawing session in terms of challenge and the drawings that came out of it.
E: Hard question! For me it’s my studio.. where all of the amazing
things I see and collect come together in an odd way. Though if we’re talking location wise, I’d say the Kangaroo Cliffs. I love the view of the city skyline from there, but there’s also something quite magic about the chaos of activity that happens in all directions. Vertically with the climbers, longitudinally with runners, pram walkers etc, and the ability to touch the river.. I like that. Oh! and Fort Lytton is also a hidden treasure.
What do you hope for the future of Urban Art Binge
J: We love this project and the organic evolution of it so are keen to see where it goes. We are keen to do some week-end sketching retreats in the coming year, probably nationally at first then ideally places that are further afield like France and Morocco. I will be having some more treatment in there somewhere too so we are looking at how to incorporate all of those of ideas with the practicalities of this over the coming months. We are both very keen to use art as a way of sharing ourselves with others and for this to be a fundamental part of what we teach.
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urbanartbinge.com
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Deerhouse Pictures with Belinda Davis
Who is Deerhouse Pictures?
Deerhouse is the work of Mark Daley and I, Belinda Davis. We’ve been working together on projects since 2006 and started using the moniker of deerhouse pictures to describe our work together and collaborations with fellow artists, which just seemed to stick.
How do you achieve such an ethereal asthetic in your films?
We are drawn to films and images that make us emote, so we strive for that same response from our work. The construction of image, exploration of spaces and creation of soundscapes that resonate with the viewer are what drive us as artists, which hopefully comes across in our work and attributes to that feel.
Where do you find your actors?
We’ve worked with actors and non-actors. We’ve been blessed with some amazing talented friends, who are themselves artists, photographers and some actors, who have appeared in our films. We like the intimacy of working with people we know and can establish a relationship with while making our films, so it makes sense to us to work with our friends and people we meet socially. Most people have a quality that is interesting to watch and we like to bring that to the screen. Sometimes we don’t always succeed this way, mixing real people with narrative constructs and it doesn’t work, but when it does - it is incredibly rewarding and the result is something that feels honest on screen.
How do you find your locations?
We try to source unconventional places when shooting, for both the freedom to shoot how we like and also for aesthetic purposes. We like to find unrecognisable/unexplored places that we find visually interesting and where the landscape can be a significant part of the film or photograph.
What time of day is best for shooting?
For us it any time really, we film whenever we can. We will plan as much in advance, but sometimes the best moments to shoot come when you aren’t expecting it. We love the grain that comes from shooting in low light and also some of the most beautiful results can be achieved in the afternoon when the light is softer, which is also mirrored in the morning before the heat of the day sets in.
How do you find such fitting soundtracks?
Mark creates all the soundtracks for our work, which is why they fit so well. The music is an inherent part of the process, which can sometimes come first and inspire the image or narrative or be made to marry with the image in the editing process.
In ‘those parties, those days’, how did you achieve the lighting contrasts? What inspires you?
As well as cinema (all kinds, we don’t discriminate), our work is influenced by our love of music, visual arts, installation, literature and experimental film. It’s hard to make this not sound like a checklist, but it really is where we draw our inspiration from. To name something more specific, recently while travelling we got the opportunity to see a large amount of Marc Chagall’s paintings and sculptures, which was an overwhelming experience and inspired us to put more of ourselves in our work.
Who inspires you?
We are inspired by filmmakers/artists who make films in their own way, forge their own opportunities and put themselves into their work like Agnes Varda, Kelly Reichardt, Chris Maker, Will Oldman, Louie CK, Miranda July and Hong Sang-Soo to name a few. Our tastes are pretty eclectic.
What camera(s) do you use?
Depending on the aesthetic we want to achieve for each project, and whether it is for film or photography, we have a collection of cameras we alternate between. For film, we have our Canon 5d Mark II and Sankyo Super 8 Camera, Which are our favourites but we also use whatever is at hand sometimes like our old Sony 3-chip camera, VHS camera and a High 8.
Those parties, those days was born out of a filming adventure with our multi-talented friend Justin Box, Mark, Mabh Esterelle and Mikael Boulton. It involved documenting a trip to Toowoomba with hundreds of photos, polaroids and Super 8. The footage for those parties, those days was filmed in a motel room with a roll of super 8. Justin had a vision of dressing Mikael and Mabh entirely in his amazing scarf collection, and the high contrast lighting in the film was produced by using the available lamps in the room and moving them about with the movement of the bodies.
Where can we see more of your work?
We have a portfolio of our work available to view online. Further, our films have screened at festivals such as the Brisbane International Film Festival, electric shorts as a part of Melbourne Fringe and also the Regent Film Festival. Our interest in film installation recently led to one of our films showing as part of a group exhibition at metro arts for freerange 2012 and we hope to do much more of this type of work in the future.
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deerhousepictures.com
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Notanotherbill About Ned
After a lifetime of studying art at school and college, I headed to Central St. Martins to do a degree in Graphic Design after which I joined advertising agency M&C Saatchi, where I worked as a creative for five years.
What is the NOTANOTHERBILL concept?
NOTANOTHERBILL is based on the modern day phenomenon that no-one receives anything good in the post anymore, just bills and the odd pizza menu. So buying a subscription to NOTANOTHERBILL ensures that you receive a beautifully wrapped and carefully curated surprise present in the post every month, i.e something that is not another bill!
How did you think up the idea of NOTANOTHERBILL? The idea sort of stemmed from the fact that I am a compulsive shopa-holic, and when I was an art director at M&C Saatchi I had cool things arriving in the post most days. My copywriter and good friend Martin always complained he never got anything in the post apart from cruddy old bills - hence NOTANOTHERBILL was born. I went about just building a basic site and from there blogs and people started talking.
What kinds of treats should subscribers expect to receive?
I source my presents from far and wide with the aim of introducing subscribers to great new artists, designers and brands so presents vary a lot. To date they’ve ranged from limited edition art prints, exclusive leather products, jewellery, silk scarfs, a Swedish Dustpan and brush and a take over the world kit!
How do you source the NOTANOTHERBILL gifts?
Finding and selecting the gifts is my favorite part and one I wish I could spend more time on. Basically I have always been surrounded by art, design and creative things. Team that with my shop-a-holic magpie tendencies and you’ve got a certified hoarder - I trawl markets, fairs and trade shows for cool things. As the business grows I am working more closely with brands I admire to create exclusive one-off presents. Like the Beauchamps of London x NOTANOTHERBILL coin purses.
The Beauchamps of London coin purses were particularly impressive! How did that collaboration come about?
I left M&C Saatchi earlier this year when it became obvious that NOTANOTHERBILL was becoming too big to run as a side business, so now I’m focussing on it totally.
I have a library of designers that I admire, one of which was the leather good company Beauchamps of London. After discussing at length what products people really need we came up with the design for the coin purse in a range of colours that would be perfect for the upcoming summer (though we’re still waiting for it in rainy England). It was great to work on a new product that was the brainchild of the two of us put together.
Do you work solo or with a team? Which do you prefer?
What kind of mail would you most like to receive?
Do you work solely on NOTANOTHERBILL, or do you have a day job?
Until a few weeks ago I worked on my own, apart from recruiting a few friends during hectic send out weeks. But now i’ve got a press officer and design assistant who both help me with PR, social media, website design and the general spreading of the NOTANOTHERBILL word.
Packaging catalogues... I’m a bit of a stationary nut.
What is your hope for the future of NOTANOTHERBILL?
Eventually I want the service to include different price tiers so subscribers can chose a more or less luxury gift... and of course, total postal domination!
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Michael Candy...
...is an emerging new media/kinetic artist with a specific
interest in mimesis, technological archetypes and the discourse that exists within these contemporary parallels. Through the deconstruction and analysis of everyday devices, Michael has developed a unique rationale of instinctive engineering, which he uses to investigate contrasts between nature and technology.
How did you start making kinetic art?
When I was a kid I’d always take everything apart just to see how it worked. That was my learning process, a very visual and deconstructive way of figuring things out and breaking a lot of stuff. I pulled everything apart, like, everything.
Did your parents get annoyed?
Yes! They got really annoyed with it. But it was sort of like, some things wouldn’t make it back together. I had taken everything apart in the house apart at one stage or another.
Would you take things apart & put them back together as new things? Nah, I would just take them apart and maybe use their parts for another thing. Actually, I still do that a lot. I always wanted to do engineering or design or something like that but I didn’t like the commercial product aspect, so I wanted to make things that were more individual and didn’t need an industrial purpose. Things that could just exist and be pretty.
Where do you find inspiration?
My inspiration for designing and constructing work can start with an end result and work backwards from that. So basically working out what I wanna do and figuring it out from there. Or in some cases, I figure out a way to do something and then I figure out what to do with that. So maybe if I took something apart and there was a really interesting component, that maybe moved in a certain way, and I could use that, that could lead me to new work. So it’s a mish mash of influences from real, everyday situation sort of things.
Your Blossom (2009) piece features leaves rustling up and down. Did you figure out a mechanism to make those move before the idea of leaves came into play, or vice versa? I wanted the leaves to move, and I designed the mechanism with that in mind. At Serial Space at the moment, one of the works I have created, I wanted to smash neon bulbs individually. So I started with that and worked backwards and made this sculpture that reloads fluorescent tubes. So you then dial a phone number and it snaps them. In another cell phone activated work you dial a number and a jackhammer smashes through a TV. So all works to do with destruction. We had about 30 televisions, and they were piled up against a wall, and they were just sitting there with an axe lying next to them, and this really old lady hit one of the TV’s and it took her about three shows to crack it. Within about ten minutes of the show it was reduced to rubble. People were hurling TV’s at the wall. It’s like an Indian rubbish dump right now.
Where do you come across your materials?
Everywhere I guess, I live in a workshop pretty much. My room is more like a workshop that a bedroom. I sleep in a loft bed above and everything is tools underneath. So I just wake up in the thick of it. It’s a part of my life and it surrounds me everywhere. So when I drove down to Sydney (for the Serial Space show) I just packed everything into the car, like every tool. Without them I’m claustrophobic, I feel like I can’t make things.
What would happen if you went on a holiday and had to leave all of your tools and materials behind?
It would be a terrible holiday. It’d either have to have a really nice beach, or I don’t know, something to keep me entertained. Lots of sex, or something like that. I could really use a ‘nothing’ holiday though. I nearly break down every now and then, just from like so much stuff going on at once. I maybe hit rock bottom like four or five times a year with cash. Like, have no cash for two weeks waiting for the next thing to come through. Payment for art really sucks. It’s like; you get paid after it’s done. So you have no money to begin with. It’s not always that case, but it’s usually last minute and really rushed.
Do you have a day job?
I’m a full time uni student studying fine art. I’m in my final year, so on my way out of QUT. I have one thing to do next year, but I haven’t really figured it out.
The Ice Cream Miniature work, how does it operate?
It uses a gearbox from a zoom motor of an old video camera. Video cameras are a great resource for those things. I know where to source things, so I look at things and know what’s inside them now and what I can use out of them. Don’t tell people about the video cameras though – it’s my best kept secret.
Do you prefer to collaborate with other artists or work alone?
I’m easy. There are certain projects that are my own mission and I will complete myself, but other times it’s really good to have an influence. The two artists I worked on for the Serial Space exhibition, we skyped it together, and came up with the idea and wrote the proposal and did the show. I had to repair a lot of their works and make them actually work and do elements like that and lend advice for how to do things, and it was really like a group thing where everyone informs each other. It’s nice.
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michaelcandy.com
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The Crafty Minx Kelly Doust People have very different ideas about how you should behave on your sofa. I use mine like a day bed, strewn as it is with lots of cushions and rugs for comfort, particularly in autumn and winter. I impose no rules about feet on the sofa (as long as they’re bare and clean), and it’s here I drink copious cups of tea, spend hours engrossed in books and magazines, write, watch telly, doze, sew and chat on the phone. It’s my very own ‘mission control’: a home office and relaxation centre rolled into one. For me, throws are almost as essential as cushions in creating this environment. There’s nothing nicer than curling up with a hot drink or glass of wine, tucking your toes under a throw for warmth or pulling one, shawl-like, across your shoulders. When I first met my husband, he took me away for the weekend to his parents’ farmhouse in Somerset, England. It was my first meeting with his parents and I was, understandably, nervous, but the Dousts were so warm and made me feel so welcome in their home, that I relaxed almost immediately. Waking up early on Sunday morning, I made myself a cup of tea, grabbed a big hardcover book on gardening and curled up on the sofa. I had no inhibitions about drawing my bare feet up to stretch out and tucked my toes under the throw at one end. This is how his mother found me, half an hour later – I think I may have been taking one too many liberties (especially at such an early stage), but she behaved graciously and has always treated her Australian daughter-inlaw like one of the family, despite my casual antipodean behaviour.
craftyminx.com.au
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Wooly Throw Rug You will need:
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A selection of old jumpers in pure wools and complementary colours – how many will depend on their size, but 4 large men’s ones or 5–6 smaller women’s jumpers should be more than enough. Round- or polo-necked jumpers will have more available fabric than V-necks. Go for tighter knits if you can: big loopy lace styles might unravel if you’re too scared to shrink them a lot, and don’t be afraid to experiment with colour. About 7 m x 5 cm-wide bias binding in a matching or contrasting colour – this is more than enough for a 120 x 170 cm throw A gentle, delicious-smelling wool wash or soap flakes Ruler Pencil Tracing paper or cardboard Paper scissors
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Wash your jumpers either by hand in warm (not hot!) water or, if you have a gentle wool wash setting, in your washing machine. Don’t use any harsh detergents. Soap flakes or a scented wool wash will soften up the knits, even while they’re slightly shrinking. When finished, lay them out flat to dry; pulling them into shape if you need to.
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Use your ruler and pencil to rule up a 25 cm square on tracing paper or cardboard and cut out with your paper scissors. This will be your pattern.
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Lay the first jumper out flat and pin the pattern to the bottom hem (basque), nearest to the left hand seam.
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Cut out your square, then unpin the pattern. Put the square aside, making sure the right side is facing up.
5. 6. 7. 8.
Dressmaker’s scissors Bobble-headed pins
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Sewing machine and thread
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Move your pattern across the jumper and repeat Steps 3 and 4 until you have used all available 25 x 25 cm sections of the jumper. This should give you approximately eight squares from the front and back sections and, if you cut off the sleeves and open them up along the sleeve seam, another two – giving you 10 squares in all from one men’s jumper. You will need 35 squares in total. Lay out your squares, five across by seven down, to see how they work together and what appeals to you. I like a random layout, but you can alternate colours so the effect is more uniform – whichever takes your fancy. Carefully stack them back together, right sides still facing upwards, so they are in the order you want them to be sewn together. I tend to go from left to right, and lay them in separate piles just to make sure I don’t get them mixed up. Start sewing them together on your machine, allowing a 6 mm seam. I suggest sewing the horizontal rows of five first. This will be easier, as you are sewing only the sides of the squares together. Then start sewing the rows together, one after another, making sure you line up the squares from top to bottom. This will require a little more care when you get to the seams where four squares intersect. Using your iron, press your bias binding in half along the length, wrong sides together. Slip the folded binding over the edge of your throw and pin it in place around the edges. Make sure you allow enough binding at each corner to allow for turning the corner, folding under the excess neatly at the corner. Sew the binding in place as pinned. Your throw is finished – don’t worry about the unfinished edges at the back. They won’t unravel because the knits have been pre-shrunk. Use the throw on your sofa, and feel free to play with the square sizes for larger or smaller throws, say, for your bed, or a child’s.
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Glowing papier mâché candle holders love a spot of papier mâché – you’ll get yourself in a “ Icomplete mess and probably end up scraping bits of hardened glue off your work area for days to come, but it’s so much fun and will make you feel like a kid again.
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You will need:
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For each candle holder, you will need to cut a circle of chicken wire, approximately 5 cm in diameter with your tin snips, and a rectangle 5 x 15 cm.
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Wrap the rectangle of chicken wire around on itself from end to end to make a tube and, using pliers, bend over the edges to secure it together.
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Place the circle of chicken wire at one end of the tube and bend the edges up to secure – this is the base of your candle holder.
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Lay out a few sheets of newspaper on your workspace or table to protect it from drips.
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Rip another few sheets of newspaper into 2.5–4 cm-wide strips.
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Dip a ripped sheet into the wallpaper paste to soak, then pinch the end of the strip and run your fingers along it to remove as much of the mixture as possible.
Chicken wire in a small cross-hatch (available from a hardware store or garden nursery) Tin snips Pliers Newspaper Wallpaper adhesive, mixed with water as per packet instructions Large bowl Acrylic paint and paintbrush Small candles or tea-lights
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Wrap the strip around your chicken-wire frame, starting at the top of the candle holder. Use your strips to cover the entire frame, overlapping at the edges.
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Turn your construction upside down and leave to dry for 24 hours, preferably in a sunny spot. (Store any unused paste in the fridge, covered with plastic.)
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The following day, repeat Steps 6–9 to add another layer and leave to dry for another 24 hours. (You can throw away your paste or store in the fridge again, in case you’ve missed any bits.)
10. After 48 hours, your candle holder should be dry and ready to paint. 11.
Paint white or any colour you’d like – warm tones such as red, pink or orange will throw a lovely glow over the table and be more flattering than greens or blues.
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After your paint has dried, turn out the lights, place a small candle or tealight inside each holder and strike a match.
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“Toto, we’re not in Kansas anymore” by Siobhan Nunan
“ Yolngu life is all encompassing. Life, death, art and land are all connected and feed into each other equally ” I could have never expected the culture shock that was Ramingining. The Indigenous community about 580km from Darwin in Central Arnhem Land was vastly different to my pocket of Australia. West End in Brisbane is where I call home and here, there are no constant battles against deadly mosquitos and ambiguous nocturnal amphibious beasts.
I was fortunate enough to be taken on many art-making expeditions and studied practices. I even had my own go at making pandanas weavings and a didgeridoo. These however, were not successful attempts. Many a muffled laugh was thrown my way due to the sausage like form my fingers are shaped, a gracious gift passed down from my father.
When our group of 11 Art History students from the University of Queensland and Queensland Creative Arts workers touched down in Maningrida, yes, words of “Toto, we’re not in Kansas anymore” may have been uttered. A bumpy truck ride another 4 hours north, a swim in a “crocodile free” river complete with it’s own muddy driveways for the prehistoric creatures and we finally arrived at Ramingining.
It was in these art expeditions that the banal everyday activity of root finding or weaving opened a plethora of knowledge. In conjunction with all these activities, the stories would flow. All I had to do was listen, there was nothing else required of me. It was a veritable Pandora’s box of earthly delights.
Ramingining is home to about 800 people, although this number varies regularly. The area which is neighboured by to the Arafura Swamp is inhabited by the Yolngu people. The community was brought to notoriety with the 2006 film Ten Canoes. Director, Rolf De Heer arduously recreated the tradition of Yolngu hunting, warfare and dreaming. Francis Djulibing who played Nowalingu in the film said that it gave the community of Ramingining a visual history to their stories. What our small, naive group set out to do whilst visiting Ramingining was to study the art of the region. Yolngu art consists of bark paintings (a medium that is scarcely used due to canvas being a more economical option), pandanas weaving and hollow log coffins. Ramingining artists created the infamous Aboriginal Memorial artwork at the forefront of the National Gallery of Australia. Aside from all these things, what makes Ramingining a magical presence in Australia, is without a doubt the people that live there.
Yolngu life is all encompassing. Life, death, art and land are all connected and feed into each other equally. There is a coexistence between person and land that is impossible to separate. Without one, there is no other. It is evident in their Dreaming’s the importance that a holistic approach to life provides. At the end of my time in Ramingining, I realised that getting to understand a small amount of Yolngu life, in turn made me contemplate my own. It’s corny and emotional but the means in which I had been used to living for 25 years was put under intense magnification. It changed the way I see art. Art started to become an emotional, mental, physical and spatial catharsis. Ramingining in all its enthralling despair is the creator and the creative. Its people resonate all it provides and all it takes away. It is the skin and bones to my art discipline and a right of passage that will neither be forgotten nor fully understood.
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Humble Be Photography
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The Creator of Filth at once I found myself the creator of filth. Fetid “ All wretched creep. They gave me the bloody resources & encouragement to create. What could be expected to flood out of this tainted, twisted soul but stinking filth.
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... not the least appealing in its wretchedness. The whole fucking world burnt down, man. Apocalyptical occurrence. Meanwhile, I’d flung my piece of work into a rotten swamp to rid the world of such disgrace. These are the dark reflections of histrionic art-house filmmaker Emma Mary Gover after completion of her latest short, Stop Watching, as a first year Film and TV student at Victorian College of the Arts. Emma began her foray with digital mediums in 2011 with twelve-part 31 Digital TV series The Theatre Thespians made with Cairns born, Brisbane-based, actor Dinny Dinsdale. The show was an exploration of independent local Brisbane film and theatre productions. The Theatre Thespians provided an opportunity for local artists to discuss their work and experiences in the film and television industry. Emma is passionate about community TV: ‘31 Digital is a unique media space for community members to share ideas and opinions.’ Emma has since completed one independent short film Call of the Taiga, shot in Skien, Norway, written and directed with Griffith Film School graduate, Anders Goberg. With a background in Health Sciences and population level behavioral intervention, Emma believes the individual is empowered through their (sometimes seemingly insignificant) daily actions to shape population level behavioral outcomes that influence our future as a species on this planet. ‘Both governments and corporates recognize the significance of the individuals behaviors in shaping our future as humans on Earth. In fact, governments and corporates allocate increasing expenditure toward researching and implementing population level behavioral interventions that target the individuals’ behaviour through shaping social norms, self efficacy, values and beliefs. ‘In recognizing this, the individual becomes empowered to contribute to environmental, social, political, economical and cultural sustainability and intra-generational equity’. Emma attempts to create films using recycled and found items. As yet she is unsuccessful in portraying the intended themes of her work. However, as a student she remains hopeful the style and messages of her work will only grow stronger.
Confession:
To the embarrassment of the author, I wrote this article about myself.
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Oceans of wishes and a sea of fish, Emma Mary Gover
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Graphic Design Feature Ben Smith is a graphic designer based in Brisbane who loves magazine design and Kylie Minogue. On a Saturday morning you can find him enjoying a leisurely sleep in, after a Friday night spent completing work or socialising with friends. Sometimes he thinks about the most random things, but he usually has work on his mind. One day he wants to create his own magazine, but not before gaining experience in the industry first. His greatest joy is listening to music, which he does everyday.
See Ben’s personal portfolio for yourself here, or his collaborative project Flux Collective at fluxcollective.com
Exclamation A music and celebrity based magazine. The cover and 3-page magazine design was created in response to a brief provided whilst completing of my Bachelor of Creative Media (Major in Graphic Design). The design was inspired by the bold image of Kylie and reflected the sharp irregular shapes evident within the image. The creative process for this piece involved developing the magazine concept, creating and refining the masthead, completing the cover and then beginning the design of the 3-page feature. One of the key aims during the development of this design was to create a masthead that would still be effective when placed on the left side of the cover - simply because it’s different to the norm, which is important when creating attention grabbing magazine covers.
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Cat MacInnes I’m a Melbourne-based illustrator and graphic designer. Since toddlerdom, drawing has been my favourite thing! In maths class, for example, I would spend hours designing a front page for a project on indices! Indices on the other hand, were not my strong point. I completed a Bachelor of Graphic Design (Hons) at Swinburne University and in 3rd year was awarded a study grant and spent one semester in Seoul, South Korea at Hong-ik University. This is where I really developed my style and began to really consider illustration as a career. My clients include Annick Press, Daily Telegraph UK, Foodworks, Gardening Australia, Melbourne Museum, Mitre 10, M & C Saatchi, National Trust, Oxford University Press and Woolworths.
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See more at catmacinnes.com
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The Artist & the Penal System By Jade Thrupp The only thing of substance that I have ever learnt from life is that it is easier to prove that you did do something than to prove that you didn’t. If I, for instance, continue to feed my dog when I am being continually suspected of not doing so, I can easily prove my innocence by evidence that the dog is not anorexic. Likewise, when I need money and there would appear to be nobody home for me to put a request in for said cash, it is not entirely unconscionable for me to walk into my sister’s room and relieve her of a small portion of her funds. This is easy to prove. I, having no money, and Rose, being plentiful in finances, which somehow gradually decrease everyday; it does not take long for the onus to fall upon me. I, therefore become a prime suspect every time things should go missing from Rose’s room and as a result of my past, as a young bus money thief, I find it harder and harder to prove my innocence. I have never denied my past. For this reason I took offence when both my mother and my sister cornered me last Wednesday. I woke up relatively early, about 8:30, and proceeded to walk up the hallway and into the kitchen. As I turned into the kitchen however I was thrown two veritably hostile glances. Our kitchen bench, which separates the kitchen and the dining room, had one female on either side, both looking in my direction, both leaning on each side, as if they had each been discussing an issue of dire importance. They remained silent as I walked to the kettle and pushed down the nob to boil the water. I was then confronted about ten dollars owing to Rose, to which I queried as to why I would owe her such an amount. I was then asked whether I took this amount from her room. I replied that I hadn’t. The looks that followed were more than usually insinuative. A little while after, as my mother and I were driving in the car, the subject was again raised. My guilt highlighted in reference to my previous crimes. As we drove along the motorway previous misdemeanors were mentioned, clearly infringing on my rights as a reformed citizen, it became clear to me just how difficult it is to prove innocence rather than guilt. I had owned up to my crimes, but I would always be a suspect. That silver, shiny, ‘Chuppa Chupp’ money tin that I had dipped into so many times has become a stain on my otherwise clean name. I had not taken the money, in fact it would probably turn up under Rose’s bed in a couple of weeks, just as her charm bracelet did a week after we replaced it, but until then I was the only one informed of my innocence.
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How To: Visit the town you grew up in By Tim Fitzpatrick Be prepared… You don’t really have a say in where you go or what you do. The itinerary has already been planned for you by your past self and your present self is just going along for the ride in the double-decker tourist bus that is you, while you sit up top in the open air listening to your own internal monologues crackling through the ripped speakers. The brochure that is your slightly distorted memory promises good food, friendly locals and important landmarks. The reality, however, is something else. Not quite a let down, but never really living up to expectations either. Your old favourite burger joint has turned into a golf store, the Charcoal Chicken is out of chiko rolls and the corner store has long since sold the slush-puppie machine and replaced it with one of those twirly stands with toy guns and velcro dartboards. The school where you used to skate, the shopping centre car park where you used to punch darts, the Maccas car park, the skate park car park, all once extremely significant hubs at the centre of a diverse and progressive civilization have all changed. Possibly falling victim to the ravages of time, time or your spotty memory thanks to the, uh, activities undertaken at said locations has made them into something they never were. Then there are the locals, once identifiable by the school sports polyester tracksuit pants and the wide-brimmed hats, now covering every colour of the social spectrum. It’s like that old saying my dad used to tell me, ‘you think you know someone, but then they go and buy a bongo.’ Well, it’s exactly like that when you visit your old hometown. You think you knew people but then they’ve gone ahead and bought some bongos and a pair of those parachute pants that Spanish people all seem to wear.
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Graphic Design Feature Mish Stark is a graphic designer based in Brisbane with a passion for typography and french bulldogs. One day she would like to design the next helvetica, but not without learning more of the technical stuff first. Mish is an avid collector of Pantone mugs and loves to fill them with good coffee or strong black tea. Sometimes she wishes she was a rock star, but ultimately she is happy singing in the shower.
Find Mish’s personal portfolio at www.theloop.com.au/mishstark Her collaborative project, Flux Collective is at fluxcollective.com also find her on twitter & instagram @mishstark and www.facebook.com/mishstark
faline bold typeface Inspired by raindrops, fairy tales and bambi, Faline Bold (named after Bambi’s girlfriend) was actually the first typeface I was game enough to release out into the world. I wanted to try my hand at creating a neo-classic font with beautiful ball serifs, that was fun, feminine and classy. I began the creation process by looking at the classic works of typographers such as Bodoni, and analysed the angles they used in their serifs in relation to stems. I try not to look at current typographic examples when designing my own typefaces seeing mint examples of every font imaginable can make me feel a bit inferior, stall my creative process, and sometimes lead me to second-guess my initial vision. I spent countless hours refining Faline Bold, and the process taught me so much about the technical side of typography (as opposed to the creative side), which is something I haven’t had exposure to before. Although a painstaking process, designing typefaces is something I find extremely rewarding and well worth the effort. I’m very inspired by modular typefaces at the moment and am currently working on a modern modular sans-serif called ‘configurate’. Keep and eye out for it, it’s a fun one (and will be available for free, in addition to Faline Bold via www.fluxcollective.com).
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Lucy Farfort Illustration I enjoy creating images that people can get lost in where they can almost see themselves on that mountain or in that forest and get a sense of escapism. People need a break from their everyday lives and I like to think that my illustrations can give them a little bit of that. Nature features heavily in my work. In fact I can’t imagine drawing on anything else. I love trees and natural landscapes such as mountains and forests. Although my work is fantastical I wouldn’t describe it as fantasy art, as I try and keep it almost semi-believable. My pieces always start of as hand drawn images, just using a trusty 2b pencil on a sheet of A4 white paper. Once I have drawn out the main elements of my illustration i trace it by hand using a black fine liner. I then scan the tracing into my Mac and work on it digitally from then on. Adding pattern, texture and colour and refining my outline trace. A piece like ‘Whale and Me’, ‘Light the Way and ‘Tree House Retreat’ can take anything from 4 - 7 days depending on the level of complexity.
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lucyshappyplace.com/lucyfarfort@yahoo.com
Light The way This is my most recent illustration. The image just popped into my head during a long train ride back to my folk’s house down south to visit my mum who’s ill. It was a difficult journey as i was going back to my parental home not knowing quite what to expect when i got there having just received horrible news of my mum having cancer. On that train ride I was deep in thought and was looking for comfort so I turned to thinking about illustration, a constant in my life and I came up with the idea for this image. A kind of shining in the darkness I think.
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Tree House Retreat This piece of work was created simply because I have always wanted a tree house. I did when I was a kid and I still do now. This image is a vision of my perfect tree house - a retreat in the woods, where you can get away from it all and just lap-up the scenery. I have a thing for trees, I always have. It may be to do with growing up in quite a rural place and walking through woods and glens everyday to get to school.
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Clare’s Gf Lime Syrup Cake so lovely to be able to serve an amazing gluten free “ It’s cake for friends who can’t have wheat, especially when you wouldn’t even guess that it was gluten free. ” Our lime tree is crazy full of limes, we can’t use enough of them. It has become my personal goal to find as many recipes as I can that require limes, and a lot of lime, not just a squeeze. I’ve started doing a lime feature on my blog The Life of Clare, so thought I would share some more experimental lime recipes with you. This first recipe I came across on twitter one day, I’m always flicking past recipes but for some reason I couldn’t get this one out of my mind. I tracked through the links to get to the recipe and found it here. I love using unusual ingredients in baking, sometimes it flips people out. The first time I made this one, I loved the cske but not the syrup, so I adapted it slightly and now it’s being served in my family’s café in Cairns in Far North Queensland.
Ingredients Method
200g butter, softened 200g caster sugar 4 eggs 175g ground almonds 250g mashed potato (cooled) Zest of 4 limes 2 tsp gluten free baking powder 4 tbsp sugar Juice of 2 limese 1 tbsp water
Heat oven to 180C/fan 160C/gas 4. Butter and line a 20cm round cake tin. If you haven’t mashed and cooled potato, do that now. Beat sugar and butter together with electric mixer until light and fluffy, then add eggs gradually, beating after each addition. Fold in almonds, cold mashed potato, lime zest and baking powder. Tip into prepared tin. Place into oven, cook for approximately 40 mins (usually I leave it in for about 1 hour, but its cook when a knife goes in a comes out clean) While cake is baking, make syrup. Put sugar, lime juice and water in saucepan, and stir until dissolved. Pour over cake while still warm.
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Poetry Feature by Emma Gover The Shed Behind the house stood an old shed, boarded up, bolted tight, its contents unknown. Like a roadside rust-out car shashie, its flaking paint and sagging struts revealed a symbiotic intimacy with the yard. Sweet potato vines snuggled the stumps and spiders carved webs in the awnings while crows sighted hoppers from the rooftop. Seasons through, and the shed simply stood, housing its mystery. On long summer afternoons when the sun hung hot and low and sweat dribbled from bottled beer and forehead, we’d bask on the patio. In the background stood the shed, our ox. Occasionally we’d speculate on what lay inside; a collector’s trove, trays of exotic seeds, piles of blank paper or a single mothball kicked into the corner. Friends would come and friends would go, but always we shared a secret. A secret shared, but to no one known. Though secrets tend to die, especially at house parties. Massive Attacks Paradise Circus plays from speakers run on dropped wiring from the kitchen above. Paper globes of yellow light strung like fruit on the low branches of a Jacaranda. The mellowed intoxication of all is sweet and thick. Hidden in the background, by the shed, two shady figures cosset curiosity. Tentatively at first they fondle the pad-locks. Eagerness grows as hands frisk the sheds windows and doors. A sharp reflection glints from a garden spade lying in the grass. Spade in hand, a head height blackened window is shattered. Two figures lift and squeem tightly through. Inside in the blackness, they make love. Morning dawns, filling unseen space. Inside the shed two naked bodies envelope beneath an empty claw-foot bath. Residing in the tub, a cheap stuffed pink flamingo from a carnival stall. A pink flamingo, and I put it there and smeared it in guilt.
Jacaranda
Roseneath
Untitled
The storm brought a jacaranda branch through the window. Sopping purple bells tickle our ears as we push the branch out. A wall of rain blows us dripping while we extract slippery shards of glass from the wooden frame. Fingers assemble tape and rustling plastics, we fill the space.
French doors and hung windowpanes shimmer with liquid movement as rain falls sharp and hard. Strategically placed kitchen pots catch raindrops dripping from the ceiling. The wallpaper fills with bulges at the cornice that must be burst with a knife. Tears across the walls reveal where this has happened.
Nighttime jeevies crawl and creep, Like insects with one-hundred feet. Scathing slowly on supple flesh, Darkness drools and moods regress. Prancing prickles prime the nerves, Pulses a race beneath the skin. Whereof these happenings within? Those of you who sleep at night, Spare a thought for us who lie in fright!
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