Issue 9 by Tessa Fox

BRISBANE

ISSUE 9 ART • FASHION • PERMACULTURE • MUSIC • PHOTOGRAPHY FILM • SKATEBOARDING • POLITICS • DIY • CREATIVE WRITING

WITHFLAWS. FEB 2014

RAW, BLUNT, BEAUTIFUL, INDIVIDUAL.

EDITORS LETTER

Issue 9! This issue seems to have been put together in a bit of a rush thanks to Christmas. Everything comes to a complete standstill in December/ January. Having said this, we have been somewhat ambitious and added another section to the magazine: Creative Writing. As some of you may know, a new literary journal launched in Brisbane at the end of last year called WISEenough that aims to promote emerging writers, much the same as what withflaws. achieves in the journalism realm. For each issue of WISEenough, a creative writer will be chosen from the publication to be interviewed and featured in withflaws. Issue 9 is proud to feature India Poulton as our first creative writer. To find out more and to get your hands on a fresh issue of WISEenough head to wiseenough.com

people who aren’t city folk then I want to hear from you! If you are passionate about any of the topics that brace these pages and are in the know in your regional town or community then now is the time to have your voice heard. Furthermore, if you are an emerging artist and you don’t live in Brisbane send an email and we may feature you! Finally, I would like to once again thank Visible Ink in Fortitude Valley for giving me the time and space to print this issue. It couldn’t have been published without you. Enjoy issue 9 and support your local businesses so we don’t lose anymore!

TESSA FOX

The launch of this issue also marks the closing of the independent book store Atavist. withflaws. has been stocked in Atavist since launching in Brisbane. Sian has also helped a great deal with providing the space for the launch of issue 9. Atavist’s closure will create a hole in the valley for those into books and zines. Though it is a huge shame, I wish Sian the very best for her future endeavors. From herein, withflaws. is aiming to expand into greater Queensland. If you live in the middle of nowhere or know

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TO BE FEATURED: featured@withflaws.com TO CONTRIBUTE: tessfox@withflaws.com TO ADVERTISE: advertise@withflaws.com

CONTENTS

Fashion

Art

Music O

Permaculture

Photography Stewart Barry

Creative Writing

Skateboarding Aaron ‘Ratty’ Cooper

Film

Politics Harsh Times Ahead

DIY

Jessica Tovey the Label

Anna Varendorff

The Burbs and the Bees

India Poulton

Michael O’Halloran

Pinhole Camera

WITHFLAWS.COM FACEBOOK.COM/WITHFLAWSMAGAZINE TWITTER.COM/WITHFLAWS COVER IMAGE byLACHLAN BROWN (lachlanbrown.com.au) MAGAZINE DESIGNED by Thea Skelsey (theaskelsey.com) + Alexandra Winters (alexandrawinters.com)

JESSICA TOVEY THE LABEL WORDS by BONNIE GRAHAM

FASHION

Most creative industry university graduates will appreciate the difficulty of breaking into their chosen field upon completion of their studies. Being thrown into the ‘real world’ sans contacts and sans funding is an intimidating and daunting task for the majority of individuals, regardless of how much expertise or experience one may possess. For talented MSIT fashion graduate Jessica Tovey however, opportunities came knocking at her door. Tovey graduated from Metropolitan South Institute of TAFE in 2011 with an Advanced Diploma of Applied Fashion Design and Technology, and an incredible promise of greater things to come. The emerging Brisbane based designer was thrown into the deep end upon the immediate approach of a Sydney store owner wanting to stock her designs. Although deviating from her original plan of working for another designer first, Tovey jumped at the opportunity, and, as they say, the rest is history.

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Tovey’s designs are unique in form, focusing on structural components with an edgy yet sophisticated aesthetic. Her collections are an exploration of direction, experimentation, and innovation, and are designed for strong, independent fashion forward women. “My designs are always heavily influenced by my love of dominant fabrics and interesting structures and shapes within the designs. I love playing with different textures and complimentary cuts.” Tovey is currently producing two seasonal collections per year. Her most recent collection, designed for fall 14, takes inspiration from retro fashion. “It has a 70’s vibe contrasting flared silk styles with strong leather pieces, combining the two styles of the era punk and bohemian.” Tovey attributes her passion for creativity to her mother’s encouraging influence throughout her childhood. But it wasn’t until a few years later that she realised where her true fervor laid. “During high school I realised clothing design was my creative passion and went on to study it further. I haven’t looked back since!” Her hard work and unique style hasn’t been without recognition. In 2011 Tovey was awarded first and second place respectively for designs entered in the Australian Natural Fibre Awards, in addition to various Flair and Fashions on the Field Awards. However, Tovey notes her 2012 selection as one of twelve finalists in the Australian Fashion Graduate of the Year Awards at the Mercedes Benz Fashion Festival her greatest achievement thus far.

Breaking into the local fashion industry has been a positive experience for Tovey. “I love the energy everyone in the industry has here, it’s almost like a family with everyone so willing to help out and give advice.” But she also looks upon the industry as one in dire need of change. Tovey worries about the ethical and environmental issues associated with consumer driven fast fashion. She attempts to address these issues through her designs by designing for longevity and timeless style. “Buy locally and not only are you lessening those negative impacts but you are also supporting those truly creative people that are the backbone of the fashion industry.” Tovey is indeed confident about the future of her eponymous label, holding the hope that the next ten years will bring about international showings and numerous flagship stores. If her success to present day is any indication of things to come, there’s no doubt that we will be seeing Jessica Tovey designs on a New York runway in the near future. Check out more of Jessica Tovey’s designs at jessicatovey.com.au

“ MY DESIGNS ARE ALWAYS HEAVILY INFLUENCED BY MY LOVE OF DOMINANT FABRICS AND INTERESTING STRUCTURES AND SHAPES WITHIN THE DESIGNS.

”

ANNA VARENDORFF WORDS by KATHERINE LEE

ART

These days it is not uncommon to encounter a utensil in a gallery. Removed from the everyday world and placed on a plinth or behind a glass case, however, the utensil is taken out of context and becomes an “art object”. “Sort of Free Objects” exhibited at A-CH Gallery in West End, however, explores the potential for gallery items to be utensils and art objects simultaneously. The exhibition is a display of the work of artist and jeweler Anna Varendorff. Varendorff was born and grew up in Brisbane and studied jewelry making at the Queensland College of Art before moving to Melbourne three years ago to undertake a Masters of Fine Art at Monash University. There are two types of objects on display in this exhibition: human-size geometric brass structures, suspended from the main wall of the gallery, and a selection of hand-crafted spoons, dispersed throughout the space. This latest exhibition of Varendorff’s work in her home-town demonstrates her unique interest in making objects which occupy an ambiguous position between art objects and utensils. Varendorff’s interest in creating works which are both aesthetic and functional stems from her practice as a jeweler. The objects created by

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Varendorff have evolved alongside her jewelry and are made using the same techniques. In making both her objects and jewelry Varendorff is interested in exploring “space, material, form and utility” to create objects which can be touched, used and moved. As such, Varendorff makes a distinction between her work and sculpture as she states; “I think that the objects that I make are not in the same category as sculpture which is off limits from touching… I make things that are deliberately to be engaged with… to give potential for a different experience of rarefied objects and, inseparable from this, a different experience of spatial relationships”. The appearance of Varendorff’s geometric structures and the proximate relationship she encourages between the viewer and objects appears to parallel jewelry. As Varendorff states the objects “appear as gilded and linear and delicate in similar ways, and they can be interacted with. People have a sense of relationship to the pieces through their own sense of scale which relates to their person”. While Varendorff considers these objects to be a nod to jewelry, she insists that they belong to a distinct category. The spoons, which are handcrafted and forged from silver, are also similar

to jewelry. The bespoke nature of the spoons and the precious material used to create them lends to their being compared to jewelry and one buyer who attended the opening of the exhibition requested for her spoon to be made into a brooch. Varendorff encourages an ambiguous view of her spoons as she describes them as “objects of direct or implicit utility”. This ambiguity is enhanced by the display of the spoons in the gallery space. While some are mounted in a niche in the wall and are literally framed, others are laid out on a ledge and upstairs ten spoons are placed alongside mounds of sugar to remind viewers of their function. This idea of an inexact or multiple functions is central to Varendorff’s general practice and is also apparent in the display of her geometric structures. These objects,

“...THE OBJECTS THAT I

MAKE ARE NOT IN THE SAME CATEGORY AS SCULPTURE WHICH IS OFF LIMITS FROM TOUCHING… I MAKE THINGS THAT ARE DELIBERATELY TO BE ENGAGED WITH…

”

mounted on the wall, appear to be exclusively aesthetic and are lit to create unusual geometric shadows. Varendorff simultaneously considers these shadows as “free drawings” and, therefore, aesthetic and a challenge to the aesthetic ideal that art objects exist outside the space of the viewer as they “explode the false narrative of object in isolation …”. Additionally, the brackets holding the structures to the wall are designed so that they can

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be removed and used by the viewer to explore spatial relationships between themselves, the objects and the gallery. Furthermore, the exhibition’s juxtaposition of the spoons with the geometric structures encourages the viewer to compare and contrast these two apparently distinct types of objects. While the geometric structures and the spoons may initially appear to represent the categories “art object” and “utensil”, respectively, it becomes clear through interaction with these objects that they simultaneously possess traits of both categories. It is through trans-genre objects such as Varendorff’s, the vision of directors Melody Chen and James Hung and curation of Kate Mckenzie at A-CH Gallery that questions of objecthood are being examined in our backyard. View Anna’s full portfolio here annavarendorff.com

O WORDS by TESSA FOX PORTRAIT by HANNAH ROCHE

MUSIC

Thomas expressed their view that “scenes encourage complacency and homogeneity, there’s something more satisfactory about carving out your own niche, rather than trying to fit with some pre-existing one.”

There are a handful of mutual contemporary influences for O. Those Delivering an absolutely soul crushing band’s include Slint, Sunn O))), Ash live performance filled with intensity Borer, The Drones and The Birthday and apparent despair, the Brisbane Party. Lachlan added they are influenced based atmospheric black metal band, by “bands who sound like their music O, are intentional with everything they is constantly on the verge of breaking, do. It certainly isn’t just music that they or conveying a sense of oppression produce. Instead, it is a highly thought through an ability to harness huge out and conceptual package. The volumes of sound.” The appeal of black vocalist, Lachlan, explains their obscure metal for Thomas is drawn from the name “allows people who want to listen obvious consideration bands of the to our music find us without them having genre put into their music and the to impose some preconceived idea of provision of “some kind of unfamiliar what the music should sound like based and challenging experience.” on the name.” For the purpose of the web and URL’s, O use the title Wood and Black metal has definitely been Cloth. These words were derived from a pushed into the limelight more than ever book Lachlan read; the words “all bodies due to Deafheaven’s recent acclaim. rubbed violently, as stone, wood, and This could either be looked down on cloth” consumed his life for years. by those who strictly appreciate the genre’s underground qualities or it You would be forgiven for not could be accepted as a turning point stumbling across O before. For one, in black metal, allowing some sort of their online presence is far more regeneration and a nudge to push the focused around their website, a nice boundaries further. Thomas commends change to the constant marketing of a band for receiving such critical Facebook pages. The website is a central success, though he “would personally hub with the general band links; merch, like to steer away from anything music and social media. It is impossible that is running the risk of being too to find their Facebook page without saturated” like post rock. On the flip first seeing this website. Lachlan side, he doesn’t care for black metal stated, “maintaining a certain kind of traditionalism either; “in my opinion, hiddenness is nice I guess, especially the most profound metal and punk has considering that participating in social been that which is a reaction against media usually demands a degree of traditional culture.” obtrusiveness.” Not only do O lay low on the internet they’re also removed from Cam, O’s guitarist, and Thomas any group or politics of the Brisbane used to play together in The King of heavy music circle. Their drummer Red Lions as well as a handful of other

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studio projects. Cam brings a frenzied and furious vibe to O’s live set that is contrasted heavily with the intensity of Lachlan’s rigid stance. Lachlan’s movements are next to nil when O perform, often intimidating audience members with his ferocious stare. When Lachlan attends other shows he finds it difficult to watch vocalists who “stomp around the stage or throw themselves about.” He puts it down to a display of “faux sincerity, even if they believe what they’re doing is genuine.” Lachlan continued by explaining he’s not trying to look intimidating, “I see standing still and staring at people as a way to establish a genuine connection between myself and others, in an otherwise unnatural setting.”

Nowhere Audio will complete the mixing and mastering of the record. Thomas believes they “both have really unique production styles.” The upcoming release will continue on with the conceptual framework of the band, with Lachlan’s aim to achieve “a certain level of ontological destruction through sound.”

For those who are keen to see O on tour, you may be waiting a while. “It’s a point of contention with the band,” Thomas stated. Lachlan would prefer to only play a “handful of shows a year in Brisbane.” When a further explanation was sort after, Lachlan continued by saying he doesn’t “see the point in going to Melbourne or Sydney, I’ve experienced both of those places O was once a four piece until their enough to know they’re just slightly bassist moved to France. They resorted different versions of Brisbane.” It to using a pre- programmed synthesizer seems Lachlan is only keen on the idea as a bass. During a live performance if it was guaranteed to be a challenge the synth is run through a PA speaker. to his current existence, a theme not The benefit of this is explained by dissimilar to the overall decisions of the Thomas; “Large PA speaker cones can band. move a lot of air, and the smoother, purer waveforms of the oscillators For all things O related head to can generate frequencies lower than woodandcloth.net a bass guitar usually can, and produce incredibly low frequencies that are felt more so than they are heard.” Even though such amazing tones can be used, IN MY OPINION, THE MOST PROFOUND sequencing a whole set is limiting. In the METAL AND PUNK HAS BEEN THAT near future O are looking to use a live WHICH IS A REACTION AGAINST bass again or possibly a live synthesizer.

“

There are three of O’s past releases online, two of which were self recorded back in 2012 and one is a live recording from The Zoo at the beginning of last year. A 12” record is currently in the making with the final tracks being finished as we speak. Cam Smith at Incremental Studios is taking care of recording and Donovan Miller from

TRADITIONAL CULTURE

”

THE BURBS AND THE BEES WORDS by SACHA MARY-RAINE TAYLOR PHOTOS by ALEESHA PHILLIPS

An interview with urban apiarist, Jack Stone. Bee One Third is a Brisbane-based urban beekeeping company, installing and caring for rooftop beehives in and around inner-city Brisbane. “In total we have 30 beehives, 16 of which are currently placed on rooftops providing a home to 500,000 bees. We have another 10 hives projected to be placed on rooftops around the city by mid-Feb 2014.”

The Gunshop Café use their share (filtered from their rooftop) to help promote local produce on their seasonal menus.

Delicious honey fare aside, beehives aren’t just for business. Bee One Third work closely with their hive hosts to help articulate the importance of bringing pollinators back into Brisbane city. Jack and the bees provide the opportunity “I would say the most for hosts to reduce their environmental unique honey so far was our first batch footprint, contributing to the biodiversity from Light Space Exhibition Centre. of the city and decrease their food miles. I can’t wait to try the honey from our These ecology warriors (hosts) are recently installed Urbane and Euro enabling the creation of a local product restaurant hive when we extract our first that travels 10 metres from source to 30 kgs in the coming weeks.” plate, all while changing the face of urban agriculture one beehive at a time. “The flavour, colour and viscosity all vary depending on the seasonal “When in 2012 I decided to sign up for blooming of flowers in the areas of a swarm list I was delighted to catch my which the bees are foraging at different first bunch of bees. Wanting to take part times of the year. We have six hives at in a tangible environmental cause was a the James Street Precinct placed only driving factor behind my move to bees. one metre apart. Each honey tastes Plants were interesting too at the time, extraordinarily different even though and I guess horticulture / food growing they have all been extracted within a got me stimulated to search further. very close time frame.” Bees though, are the perfect medium to connect with peoples understanding of While some clients prefer to keep food, on so many different levels.” their honey offerings to themselves, others—including some businesses— Honeybee pollination is an essential choose to feature their single origin, link in the food chain. With one offering a unique point of difference.

PERMACULTURE

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to meet the costs of medicating hives for increased disease outbreaks.” “We have all the normal diseases that come with bees like chalkbrood, foulbrood and the small hive beetle. Small hive beetle is our worst enemy at the moment, but as soon as Varroa hits the shores we are not going to be so worried about the hive beetle.” Stone’s forward-thinking and commendable efforts demonstrate a responsibility to the environment and its unspoken heroes. More people are beginning to see urban third of the global food supply requiring the vital beekeeping as an extension of gardening. While many pollination services of the honeybee, their work helps grow their own fruit and vegetables, not everyone has significantly increase (and sometimes provide the the capacity to keep bees, but there other ways to only chance of) yields from crops. help the cause. Grow pollinator-friendly plants and shrubs in your garden, keep all herbicides, pesticides JACK AND THE BEES PROVIDE and other chemicals off them, use organic methods.

“THE OPPORTUNITY FOR CLIENTS TO REDUCE THEIR ENVIRONMENTAL FOOTPRINT; CONTRIBUTING TO THE BIODIVERSITY OF THE CITY AND DECREASING FOOD MILES.

Finally, Stone’s vision for Bee One Third and Brisbane in the next 10 years is “a population more accepting of obscure and interesting urban spaces, with activated rooftops and a mentality to push the boundaries. Our city council truly needs a shake up. More heritage listed buildings, less commercial development and increased investment in renewable Over the last two decades, international bee energies for the future (we are decades behind). A populations have been rapidly diminishing due forward thinking city/state that listens to it’s people, to a number of factors. Urban sprawl, human not one who ignores their cries for change. More interference, parasites and pests, pesticide use, as rooftop landscapes with beehives and collective well as habitat loss in place of monoculture farming conversation around what Brisbane residents want has seen such catastrophic outcomes for the bee and for their city.” led to Colony Collapse Disorder (CCD). Australia is currently free from CCD, but this disorder has sadly Follow Bee One Third on Facebook and Instagram seen hive losses of up to 30% or higher in Europe and beeonethird.com.au the United States.

”

“The biggest threat we have in Australia at the moment is the imminent arrival of a national catastrophe. The Varroa Destructor mite is a parasite that attacks the internal operations of the honeybee, like a parasite to a human body. With a number of scares to date, our national Bio-security forces and DPI are working hard to keep it at bay. New Zealand has seen beekeeper numbers drop by 46% since Varroa’s arrival in 2006, with the price of honey rising

STEWART BARRY

PHOTOGRAPHY

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I was drawn in to the sea and the underwater world from the very beginning. Snorkelling as soon as I could swim I learnt to scuba dive at 14. This lead to becoming dive instructor by the age of 18, working in Byron Bay and on Lizard island. My career choice enabled me to pursue my love of free-diving. Taking photos on the limit of a single breath, creates both a challenge and a freedom that drives my passion. The silence and flight like freedom of movement underwater is surreal and almost identical to the nature of my dreams. The series of photos presented here, are an exploration of form, discovered in the pursuit of realising these dreams.

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Instagram : _subtrane_ Website : subtrane.tumblr.com

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“Repel”

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“Recline”

“Reassure”

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INDIA POULTON WORDS by GEORGIE LEVI

semester, India has a fairly balanced range of authors inspiring her work at the moment. “Lauren Slater for her trickery, David Sedaris for his honesty, Kurt Vonnegut for his comic relief, Benjamin Law for his wittiness, Mel Buttle for her wellmannered humour, and Meg Rosoff for helping me find my voice.”

It takes a lot to truly discover exactly what you want to be doing with your life. Or perhaps it’s the process of achieving those goals that is the most tedious and India noted how difficult university difficult part. Sometimes, especially to first was before discovering what style those working in the creative sphere, it’s of writing she was most comfortable both, and it can be a crippling notion to with. She admitted that she found some struggle with. assignments to be unbearable up until then. Local Brisbane writer India Poulton is well on her way to overcoming this “I was always trying to please my problem, defining her career one teachers. When I truly discovered my creative writing piece at a time. own voice and started writing for myself, everything about university became enjoyable and energizing. I constantly jot down ideas, and I always plan my pieces Originally in the fashion industry, India in advance. I write about what I know, or about what I am interested in. But had a business selling vintage clothing my best advice would be WRITE. Just under the NEIS Government Grant start writing. It can be anything. You can Scheme. delete most of it, but you can never hand in a blank piece of paper.” “Although I’ve diarised my entire life

CREATIVE WRITING

since the age of seven, it never occurred to me to be a writer. I had lost a lot of my written work on a hard drive and rewrote months of work within a few days. My mentor thought I had paid someone to write it. She told me to stop selling vintage because I was a writer, that’s the story in a nutshell.” India then promptly gave up her business and enrolled in a Bachelor of Fine Arts in Creative and Professional Writing, now in her final year. Already well into the reading list for next

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ALTHOUGH I’VE “DIARISED MY ENTIRE LIFE SINCE THE AGE OF SEVEN, IT NEVER OCCURRED TO ME TO BE A WRITER.

”

India’s description of her work as “an attempt at being willfully honest” is an incredibly apt and fitting phrase. With subtle, minimalist, beautifully crafted poetic pieces and a short series of memoir-style autobiographical essays, India has been refining her writing style by writing about what she knows. “I think some of the most beautiful writing comes from mundane situations in life. I don’t like to escape to fantasy when I read - I love feeling human. It can make you very vulnerable writing about real experiences, and real people but I think it’s better to acknowledge the comical absurdity in life. It’s very connecting and healing, for the writer and the reader.” The question of where writers work from is always intriguing. It’s not a particularly exciting question to ask, but sometimes it gives you just that little bit

more insight into writing patterns and methods that people work by. India was unapologetic about the fact that her desk doesn’t get very much attention. “I have a spare room in my house with a desk and designated office area, yet I always manage to sneak into my bedroom and write on my bed. The best work comes from there. I think it’s because I feel relaxed and it seems more casual. I don’t have as much trouble writing when I’m in this space, surrounded by snacks.” With plans to continue free-lancing and complete her honours in 2015, the future is looking splendid for the Brisbane writer. India also aims to work on publishing a book, a collection of her essays, at some point and considering her commitment to her career already, I’m sure this won’t be a hard task. For writing by India Poulton visit goodmorningmidnights.blogspot.com.au

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AARON ‘RATTY’ COOPER PHOTOS by HENRY HARBECK

SKATEBOARDING

FRONT SMITH FRONTSIDE FLIP OUT Redland Bay Ratty has been skating for six years and is now sponsored by Drawing Boards Australia.

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WHEN I’M NOT “SKATING I’M JUST

CHILLIN’, MAYBE HAVING A FEW BEERS WITH WHO EVER IS KEEN.

”

MICHAEL O’HALLORAN WORDS by KYLE ZENCHYSON

We all have a soft spot for Hollywood cheese when it comes to featurelength films. Come on, you can admit it. Everyone had their favourite Sunday night Hollywood blockbuster taped on VHS that they watched repeatedly – to the point where the best scenes were visually and audibly warped and unrecognisable.

FILM

They don’t have to be Kraft singles. Some of the most commercial films have a cult following of film-savvy fans who would only ever go for the ripest Roquefort or the oldest Stilton.

An aging CIA agent fights for what remains of his espionage career after a mission to investigate a communist relic in Cuba goes wrong and threatens the safety of the free world. It’s an ambitious and almost unattainable goal for a young filmmaker to make such a classic spy film with a robust budget. The trailer reveals an exciting ‘globetrotting’ escapade with hints of humour. It looks the part and sounds it too, with a Hollywood-worthy score recorded by a symphony orchestra and composed by Adrian Direy. O’Halloran wouldn’t have completed the film, which later earned him Best Director at the Australian Screen Industry Network Awards, without the support of more than 150 volunteers and useful professional acquaintances.

Access to Warner Brothers Movie World behind closed doors also helped This is the case for Brisbane based him achieve the authenticity required to director, Michael O’Halloran, who gets nail the props and setting. The art deco his inspiration from good time, highset for Casablanca at the Gold Coast production-value Hollywood classics. His theme park was used to replicate the favourite film is Raiders of the Lost Ark. weathered brick walls of a dingy Havana bar. “I hate the way people stereotype blockbuster films and lump them all Instead of entering short films into together.” competitions throughout the year and doing the odd music video on the side, His love of adventure films that take O’Halloran took a more radical approach the audience on a wonderful escapism of committing to one larger project every journey is his passion. Break the Rock, three years. This shows experience and currently in production, is a suspenseful patience beyond his years and a knack ‘creature feature’ inspired by classic for making films that have a longer horror and fun action films like Back To run-time. The Future. This swashbuckling Hollywood style comes through invariably in his first attempt at a 40-minute featurette, The Dossier Case.

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“I know I’m not as good with short films, they’re a completely different beast. Sometimes I don’t think there’s enough time to develop character.”

O’Halloran respects short films for what they are After having some festival success and award and says doing them on occasion can provide the recognition with The Dossier Case, O’Halloran and skills to become a better filmmaker but advises all Harmer were faced with a question that would steer up and coming directors to stick to their guns and the direction of their next production. make features, if that’s what they aspire to do. “Do we make an ultra high low budget feature or a In the mould of Spielberg, O’Halloran has had a high budget short film?” burning desire to make films from a young age and was likely seen stumbling around with a Polaroid To promote Break the Rock and attract the as an infant. He diligently developed his film chops attention of a ‘super producer’, a ‘high budget’ and networking nous at QUT; making an important concept trailer was devised in the hope that it friendship with writer Adam Harmer (The Dossier will gain momentum online and among fellow Case). filmmakers. After graduating in 2007, O’Halloran landed a bunch of corporate gigs that would fund his feature film ambitions. Although this career move is distinctly removed from an ‘arthouse lifestyle’, he didn’t think of himself as a sell-out. Making films for white-collar companies was a creative challenge. “It’s just as consuming, it takes up all your creativity.” Being creative is mostly about making decisions.” O’Halloran’s production of a film made for not-for-profit organisation, Boystown, draws the audience in by shooting from the perspective of David Field, an experienced character actor with credits to films such as Chopper. This revealing look into the community support network and the generosity of volunteers is achieved through an on-the-fly style of filmmaking. The gritty charisma of Field’s narration is magnetic – brilliant casting. The qualities O’Halloran has as a producer are nearly equivalent to his talents as a director. Mohworks production (AKA Michael O’Halloran works) is his own start-up exclusively with his own input, including his first shot at web design. “But don’t use Internet Explorer. The few people who are left still using it haven’t had a great experience.”

“Most of the filmmakers I love made it and came out with a feature film that was passed on by professionals in the industry through word-ofmouth.” The trailer will premier at Movie World to compliment a live release online. O’Halloran believes this is the best way to showcase the high production values he cherishes in his filmmaking; allowing people to watch it in high definition with the same expectations as a Hollywood feature. “I didn’t want it to seem like – oh, this is just another fake film from some guys in Brisbane.” The concept trailer for Break the Rock will premier on February 27. http://www.mohworks.com/

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HARSH TIMES AHEAD WORDS by GEORGIE LEVI

There’s been plenty of lively discussion recently about the new laws and act amendments brought in by the Queensland Government last year to combat motorcycle gang-related crime.

POLITICS

Now, I’m certainly not discounting the undeniable fact that some members of motorcycle gangs certainly are the It’s been in the news almost facilitators and/or perpetrators of constantly since mid-October yet I found criminal acts. While I question some there were a lot of gaps in my knowledge aspects of the processes proposed of what the legislation actually meant in these laws I can’t deny that they when I sat down to write this article. were imposed with the sole intent of reducing crime committed by criminal From reading through the act organisations. amendments and new legislation available online, mostly from the Vicious Which is what laws are for. Lawless Association Disestablishment Act 2013, I’ve gathered this. However, the vague definitions offered Twenty-six motorcycle clubs have in the act amendments and the extent been declared as criminal organisations to which members of the public will be and amendments to the law now affected by such changes renders the stipulate that members of these clubs current situation a tad precarious, to say are unable to do the following; the least. congregate in groups of three or more, wear their club colours into licensed On Australia Day over 2,000 people venues or own and/or operate tattoo gathered in Brisbane in protest, their parlours. speeches highlighting the stressful and financially draining impact that these Seems a tad extreme, but as Premier changes have had and will continue to Campbell Newman publicly stated, this have on the civil liberty of individuals. is after all “a war on bikies”. What is more extreme though is the changes to conviction and sentencing protocols for crimes committed by known, or potentially even assumed, associates of motorcycle gangs.

For any crime committed by a known associate, the court must add an additional 15 years onto their sentence. For a crime committed by a known associate with a position of authority within the club, a further 10 years must be added. With strictly no opportunities for appeal or parole allowed, an individual could be looking at up to 25 years in prison, regardless of the severity of the crime.

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Helped by the protests, social media has led the public backlash. Stories surface almost immediately online, from the single motorcycle enthusiast detained by 13 police officers to a gentleman nearly arrested for wearing a Sons of Anarchy t-shirt.

I hold a number of concerns in regards to the new regulations from how, without an Upper House in Queensland, the legislation was passed in a single day in Parliament, to the onus being turned onto business owners who could be fined if they serve bikie members in their establishment. As a bartender myself I find the notion of one; memorising the insignias of each club and two; refusing service to bikies a confusing and uncomfortable idea retrospectively.

That works out to roughly 320 dollars per prisoner, per day. In an interview with Shadow Corrective Services Minister Bill Byrne in the Brisbane Times last November the minister said funding was even being diverted from fire and ambulance services to pay for higher prison costs. There is an emotional and psychological cost also.

BEEN PLENTY OF LIVELY ”THERE’S DISCUSSION RECENTLY ABOUT THE

If anything, I feel a little hard done by NEW LAWS AND ACT AMENDMENTS having the responsibility of imposing this law on any “Vicious Lawless Associate” BROUGHT IN BY THE QUEENSLAND that enters my workplace. Such a title GOVERNMENT LAST YEAR TO COMBAT doesn’t fill me with confidence about inciting a confrontation with such an MOTORCYCLE GANG-RELATED CRIME. individual. That and I don’t have a spare 11,000 dollars lying around to pay the potential fine I could receive for failing The conditions for associates, vicious, to either recognise or remove such a lawless or otherwise, that are imprisoned character. have been set at 23 hours a day in solitary confinement. No television, no gym. The secondary issue I wish to raise With minimal visiting hours and little to here is the problems this legislation no access to rehabilitative services or poses post-conviction. programs, in a “bikie-only” prison, this is Queensland prisons are at capacity. a recipe for disaster. Reports at the end of last year documented up to 80 prisoners sleeping Has Campbell Newman even seen on the floors of cells in Wolston Prison Shawshank Redemption? as well as 88 inmates who were forced to share mattresses at Brisbane If you are still confused by all this, and women’s prison at Wacol. to some extent I know I am, don’t stress. The LNP Government recently put out a The current tally of arrested 500,000 tender for a PR firm to correct all associates and club participants stands the misinformation out there about the act at 565, a figure that isn’t expected to amendments and the VLAD legislation. plateau any time soon. With the prison system now trying to accommodate So we’ll all be on the same page soon close to 6,500 inmates the cost to for the mere cost of a cool half a million taxpayers stands around the 100 million dollars. dollar mark.

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PINHOLE CAMERA

WORDS by CHRISTOPHER TOPPING

MATERIALS FOR CAMERA Shoebox Black [matte] spray paint An aluminium can Pin or Needle Blue Tack Scissors Ruler

The age of low cost, high resolution digital cameras has removed people from what was once quite a personal and reasonably involved process. That is, capturing an image [or at least hoping that’s the case as there is no way of knowing what the image will look like until it is developed] and then developing it, either by taking it to a technician or by doing it at home. This issue’s project will guide you through the process of making a pinhole camera and then developing images that you have captured with it. Keep in mind however that the images you develop will be ‘negatives’ and may appear washed out or cloudy; this is all part of the fun though and you will learn what works best through trial and error. THE CAMERA:

DIY

FOR DEVELOPING THE IMAGE 4 Plastic Trays [eg. cat litter trays] Fixer* Stop Bath* Developer* Photo Paper* [*available from photography stores]

I. Paint the shoebox completely, inside and out with black spray paint. Try and ensure the paint has a matte finish as this will prevent light which enters the camera ‘bouncing’ around and overexposing the image. Keeping excess light from entering the camera is the most important thing to keep in mind while making and using this kind of camera.

II. The next step is to calculate the distance from where the pinhole will physically be and where the photographic paper will sit, this is referred to as the focal length.

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III. Once you have measured the focal length, jump online and use a website to help you calculate the diameter that your hole needs to be. One such handy site is www.mrpinhole.com IV. Rather than putting a hole directly into our cardboard, we will use some aluminium from our can. This will result in a far cleaner, more accurate circle. My focal length is 9cm so my pinhole should be around a third of a millimetre.

cardboard or garbage bags over windows and any gaps around doors. Then once total darkness has been achieved, use a light covered with red cellophane as your safe light [light which won’t damage your photos while you are developing them]. I used two sheets of cellophane over a low wattage light bulb and it worked fine. VIII. Now is a good time to get your chemicals ready so after consulting the labels for instructions regarding dilution go ahead and put the Developer, Stop Bath and Fixer into their respective trays [label the trays at this point as the chemical are all clear liquids that are indistinguishable from one another in the darkroom].

IX. Now you can head into your dark room and load a sheet of photographic paper into the camera. I used a bit of blue tack to hold the paper in place on the lid of my shoebox. Once you’ve done this you can go outside and take a photo! Normal sunshine should require anywhere up to a couple of minutes of exposure while indoors you can go anywhere up to 10 or 20 minutes however bare in mind that sunlight is absolutely V. Next, make a hole in your cardboard optimal for this and I had quite poor results from indoor tests about the size of a 5c piece and stick at night. your aluminium strip with the hole over it securely sealing it in order to prevent light from entering the camera other than via the pinhole. I found a ring on blue tack to be perfect for this as it not only does an excellent job of sealing the area from light but it also allows you to try different sized pin holes with relative ease. VI. By this point you should have something vaguely resembling a camera [or at least a black box with a hole in it] that you can begin to take pictures with. Before you start however, it’s a good idea to make something to act as a shutter to block light from entering the camera until you’re ready to take a photograph. I used another little bit of Blue tack and even my finger for a while as I went from the dark room to my front yard. VII. Designate a space which can be isolated from all light, this can be quite difficult and you may have to tape

DEVELOPING THE IMAGE: I. Assuming that you have now taken a photo, covered the pinhole with whatever your shutter is you can head into your darkroom and make sure that everything is ready. II. Open the camera and remove the photographic paper, place it into the Developer solution ensuring the paper is submerged completely. III. Once the image has become clear and it dark enough for your liking, place it into the stop bath and then place it into the Fixer to make sure the image doesn’t continue exposing. The images will be ‘negatives’ and you will have to spend some time experimenting with different pinholes, exposure times and lighting methods to get a good result.

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