Weaving intricate patterns, Asian design elements and symbolism into contemporary settings and public spaces, Elysha Rei’s work explores her own mixed heritage, and in doing so, invites others to contemplate their own cultural identities and attachments to familiar and unfamiliar places.

Coy Koi papercut 70x50cm – Elysha Rei

While her exploration of her Japanese-Australian culture varies across multiple disciplines such as portraits and drawings, sculptural installations, painting, paper-cutting, street art and paste-ups, she is also an active facilitator and mentor in the industry. And as such, is consistently proving how innovative and prolific she is as an artist.

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Elysha credits her cultural curiosity to her diverse upbringing. Identifying as a cultural hybrid, she was born in Saudi Arabia and travelled extensively with her family. She has lived in Australia, Thailand, New Zealand and Japan, as well as travelling throughout Europe and Asia. She says, “This childhood exposure to different cultures, customs and aesthetics has created a strong influence in my practice, drawing upon cross-cultural experiences and observations.

For me [my work] is about a balance of working through my own personal research agendas – learning about myself, the world around me, and my place within it and interpreting that visually – as well as providing others with that kind of opportunity as well.”

Destruction creation installation paper and paint installation Elysha Rei.jpg

International and domestic travel still remain and important part of what inspires her. Elysha says she is fascinated by her family lineage and creatively inspired by Japanese woodblock artists, contemporary paper cutting artists and New York based street artist, SWOON.

“I admire those that have taken the time to refine and master their form of art making and turn it into something of their own,” Elysha says.

Her foray into the world of paper-cutting was inspired by renowned, Tasmanian artist, Dr Megan Keating’s paper-cutting workshop during her studies at the University of Southern Queensland. Since then, Elysha has researched and made paper-cutting something of her own and the visual impact her elaborate paper-cutting tapestries have is profound.

Internal Reflections papercut installation 2.5×1.5m Elysha Rei (Gould)

Through the use of negative space and shadow, Asian inspired symbolism and balanced aesthetics, Elysha invokes viewers into a state of quiet contemplation. Elysha says, “Paper-cutting is a contemporary art medium of expression that I favour for both its folklore quality and its unforgiving, yet satisfying, nature. Without the ability to erase lines or paint over a mistake, cutting paper forces me to trust my decisions. It makes me invest in my designs with conviction. I relish the challenge of creating artworks through paper-cutting that are visually captivating as well as structurally refined.”

It is clear that the creative commitment Elysha has refined through her art practice, has certainly given her a creative edge as an artist.

A Daughter’s Gift_2016_St Paul’s Terrace, pubic art by Elysha Rei

• Want to know more about Elysha and her arts practice, catch up with her live when we interview her on Wed the 15th Feb as part of the BrisAsia Festival. There deets are here.
• If you’d love to experiment with paper-cutting, Elysha is hosting a contemporary paper-cutting workshop at Artisan, Brisbane on 25th February. Book here.

Or find more info about Elysha’s past and present work using the links below:

http://www.elysharei.com/

https://www.facebook.com/elyshareiartist/

https://www.instagram.com/elysharei/

https://culturalflanerie.com/2016/07/09/5415/

http://un-framed.com/artist-info/elysha-rei/

http://flyingarts.org.au/artist-feature-elysha-rei/

http://www.metroarts.com.au/yum-chat-speakers/

Director/Co founder of http://www.samritresidency.com/

We can’t wait to catch up with you Elysha!

Ps. Want us to ask a specific question? Comment below or hit us up on Facebook.

We recently had the opportunity to commission an artwork from local artist Damian Smith and were able to record some of his creative process from conception to finished piece.

For those who have always wanted to see how an art piece is created, we have documented the process for our podcast, accompanied with photographs and an interview.

Podcast: Play in new window | Download

Subscribe: iTunes | Android | Stitcher | RSS

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More on Damian Smith…

Often using women as the focus for his art, Damian’s style lends itself to a classic, yet contemporary style. His current works focus on juxtaposing beauty and aesthetics against symbolic elements such as skulls, horns, antlers and birds and could be considered the starting point in a conversation about our focus on the superficial versus our own mortality. In doing so, Damian’s work draws attention to philosophical discussions of morality, value and meaning.

Beauty Mortality by Damian Smith

Because of this, Damian’s work is approachable, and with a glossy-magazine familiarity to it, it makes the perfect place to begin a conversation on value and arts culture in society. This is one of the main reasons we contacted Damian to create artworks for Fringe. Although he admits to struggling to find his identity as an artist initially.

Damian’s journey as an artist has taken him from a BA in Fine Arts at QCA in 2003, where he poured his heart and soul into discovering different mediums and engaging in the greater arts industry to leaving uni with no idea of what kind of artist he wanted to be, or what he wanted to say. Even so, Damian has maintained a local focus with a steady average of one to three solo or group exhibitions each year.

WIP – Illustration by Damian Smith

And as he matures Damian’s life experience continues to inform his artworks. He says, growing up in Queensland, it wasn’t until he travelled extensively that he began to explore the concepts of morality and mortality in more depth. “My travel has certainly broadened my awareness of art and the way it integrates with society.” And he is nothing if not serious about his art career, enacting a methodical approach to finding more time to create.

In fact Damian has recently transitioned from part-time to full-time artist. An achievement he credits to the notion that artists can’t just wait to be discovered. He says, “With this in mind I have been working a plan which identifies my ideal lifestyle as an artist, and a path to get there.” He has also developed a passion for education, business and emerging artist mentoring and we will be watching how this informs the direction he takes his arts practice.

Fringe believes, as Damian does, it is important we have artists and voices like him who continues to create affordable and accessible art that will enrich the culture of our local community.

You can find Damian’s post-modern, urban, animation, pop and street art and fashion culture inspired works hanging in a gallery near you, or on these websites:

https://www.facebook.com/damiansart/

http://www.damiansart.com/

https://www.instagram.com/damiansart82

Ali.x

As a writer I understand the courage it takes to lay yourself bare on the page with words and it is no different with the world of visual art. Joanne Braddy’s strength and determination shines through her works as she pushes herself to paint from within. Her paintings, drawings and ceramic sculptures employ strong symbolic elements of dark angular lines, strong colours and anguished faces to portray inner pain, giving us a glimpse of the depression that Joanne has battled with for much of her life. By sharing her emotional journey, Joanne hopes that she can help move others toward a space of awareness and healing, and by doing so, begin to break the stigmas surrounding mental illness.

Strength – Joanne Braddy

“My paintings are an expression of my inner world. Through my art I’ve found the courage to break the silence.” Joanne Braddy.

Her foray into her creative began at a young age. As a dreamy and passionate child, Joanne found solace in drawing and in her twenties, she studied Visual Arts at TAFE where her teacher found her work unique and emotionally moving. This gave Joanne the courage she needed to begin working as a full time artist from her home studio in Brisbane. Joanne says, “I decided to push myself to paint what I felt. It was so hard to put these feelings on the canvas as with every stroke of the paint brush I was going through my emotions inside. But each new painting was a new journey I had to take.”

Broken Reality, Joanne Braddy

Joanne identifies as an expressionist painter, influenced by some great artists such as Joy Hester. In a similar way to Joy, Joanne focusses on human faces and eyes, bringing out intense psychological states. And we see more abstract elements like those such as Louise Bourgeois, another significant influence on her work.

In recent months, Joanne has exhibited work in the Wesley Church, Fortitude Valley in conjunction with Art From The Margins and Mental Health Awareness Week, and she is currently exhibiting at Aspire Gallery as part of Epic Assist’s #thefuturewewant collaboration, ending tomorrow 3^rd of December.

“I have become a passionate artist only to paint the truth – no more hiding, no more silence, I’m not the quiet one in the back of the classroom anymore. I have learned to not give up, to listen to my own voice inside – it defines who you are.” Joanne Braddy – to Epic Assist.

Crossroad, Joanne Braddy

Joanne’s authentic works have also been shown in multiple group exhibitions outside Brisbane, in Sydney and Melbourne. She was a finalist in both the Moreton Bay Art Awards in 2013, the Cook Hill Gallery “We Get By” Competition in 2015 and has received the People’s Choice and Highly Commended awards from Art From The Margins.

“It’s the everyday stuff I go through that I put on paper,” Joanne she told Art From the Margins. “A lot of my work is basically to make people feel more comfortable with their mental illness, to realise that they’re not alone.”

Broken Mind, Joanne Braddy

If you’d like to support Joanne and see more of her work, come in to the Aspire Gallery today or tomorrow

Epic Assist’s ‘The Future We Want’ Exhibition Event

Or see more of her works and follow her journey online here:

JBraddyArt on Facebook

http://www.joannebraddy.com/

Ali. x

With his upcoming brand of ethical menswear incorporating his unique designs, 2016 has been a hectic year for Adrian Doidge. His hard work is about to pay off soon though, with the release of this original clothing range, and the journey behind this business is an amazing one. This is a longer interview, but when considering how to publish this I found the entire journey worth sharing, unchanged. It is really worth the read to the end to hear how Adrian’s amazing brand, Zenism is coming to light.

1. What mediums do you work in? Photography, painting, sculpture, music, writing, video/sound installation etc

Like most creatives I have played with it all. Paint, pencil, collage, photography. There’s so much easy access today it’s hard to be committed to just one.

I’m a graphic designer and creative, and my specialty is in visual communication and identity (brand) design for ethical and community minded businesses. Each job that I do comes with a set of challenges which are based on resources, time and how the design will be used – whether that be for myself or a client.

I’ve spent the past two years using pencils and inks to create logo and identity ideas for my friends and clients, then using the usual Adobe suite to bring them into reality and get professional results for print and web.

Lately I’ve been really excited to start looking into the creation of my own brand, Zenism, using all of the above. It’s a lifestyle brand that will utilise the skills of craftsman and artisans across Asia and the Pacific to create products for active men who long for simplicity in their lives. I’ve been playing with men’s bamboo T’s as an entry level lifestyle product, and it’s my first serious attempt at fashion/garment design. It’s been really exciting to get my head around this new medium.

Pea Cock Painting, Adrian Doidge Design

2. Have you studied your craft or are you self-taught?

I studied illustration and graphic design through the QCA here in Brisbane after a summer course at NABA, an arts college in Milan.

I started out drawing and illustrating when I was a kid (and remember it being the only thing that I got a lot of positive reinforcement for), began painting in primary school with the encouragement of some great teachers at Kimberly Park Primary, and went on to learn a bit more in high school through friends and teachers alike.

After that I started painting and illustrating on the side, even while I was traveling and living in Japan. I was lucky enough to have some supportive friends who bought my work while I was living there, and I participated in a few local exhibitions in Osaka and Seoul in collaboration with friends and artists. That’s when I decided to start taking creativity seriously and went to university when I was 26.

Liz Painting- Adrian Doidge

3. Where are you from and how do you think that has influenced you?

I’m from Logan City, a great spot for anyone who can’t decide if they want the city life or the coast life. My parents moved around the area a couple of times when I was growing up, but I often tell people I grew up in Daisy Hill because that was the fondest memory I had of growing up in Logan (but we never actually lived there). I think coming from Logan has influenced me in very subtle ways which I am only beginning to realise in my older years. Ways that influenced my artistic direction and choice of expression without me realising it at the time – because I was always trying to get away and disassociate myself from the area.

Being pretty queer, I didn’t always have an easy time growing up in Logan, so expressing my thoughts and feelings through art was always therapeutic. When I was young it didn’t only manifest as art but also in the character I built myself to be during my early 20’s. Growing up in Logan attracted me to a certain form of bright and colourful imagery coupled with shockingly dark content and meaning. It sounds dramatic but I found a voice in painting and drawing which was more effective than fighting or arguing with my bullies and trolls.

Being from Logan gave me the itch to get away. In the face of the neigh-sayers I had the feeling I had to get away and find a place I could feel I belonged. I moved to Brisbane as soon as I could and worked hard to save money so that I could move to Japan for a while.  Growing up in Logan we were always taught Japanese in school, and I remember it becoming this mystical wonderland that I had to be a part of and understand. Living in Japan was an amazing influence on me and my creativity also. But as far as I ran, I ended up right back here. Most of my work as a designer has now taken place right here in Logan City.

In reflection I now see that Logan gave my artwork a hint of the carnal and the lewd, an ability to laugh at myself and not to take things too seriously. It gave me a bent towards equality and egalitarianism, an acceptance for all types of people, and a sort of zen rationalism… It is what it is. Haha.

Zenism in progress

4. If you work in more than one medium, what do you prefer and why?

I prefer to paint and draw. It makes my heart beat faster and slower, I lose track of time and place, and everything seems clear while I work and think in colour and texture. It’s a description which seems completely at odds with what the status quo values, but it is a perfectly valid form of communication and problem solving to me.

Art to me is a form of connecting.

Daksha – Ethical Style, Adrian Doidge Design

5. What made you decide to become a creative artist/work in a creative industry of choice?

I chose to become a designer because of the yearning to tell a story. I’m not always the best with words, so my creativity in the visual allows me to tell a story in a different way. The inspiration to finally just do it came to me after struggling to make ends meet all my teens and 20’s, then while living in Japan and observing how all areas of life there seem to make room for the arts, I had the epiphany to make creativity my life’s work.

6. What influences/inspires you?

I have so many, and every artist should. There’s something to be said for a good art publication like Juxtapoz (although it seems to have become quite generic lately), it’s good to keep your finger on the pulse of what’s happening in the arts.

I really enjoy the work of:

• Masami Teroka
• Tomokazu Matsuyama
• Tadanori Yokoo
• Takashi Murakami
• Paul Binnie
• Fernando Vicente
• Stephen Sagmeister
• Jessica Walsh
• Inkahoots design studio
• Gonkar Gyatso
• Evan Hecox

Black Dogs, Adrian Doidge Design

7. How will you know when you’ve achieved your dream as an artist?

I’m currently trying to get my own brand, Zenism, off the ground. The premise of the brand is that we provide economic opportunities for artists and craftsmen of the Asia and Pacific region by providing access to the market through the brand. All craftsman who are engaged throughout the process will make living wages, be completely ethical, and lessen the impact on the environment from more industrial manufacture chains. Maybe when the brand is moving enough that I can leave my corporate design job behind and focus on Zenism full time, I will consider myself having achieved my dream… for now anyway, as that is the nature of dreaming. Haha.

8. What do you consider success in your industry/for you personally?

It’s going for it regardless of bad reviews and trolls, and only relenting when you’ve achieved what you wanted from the project. It’s having something thoughtful and provoking to say, and getting people to hear it. It’s helping others and having a passion for what you’re doing, but that doesn’t always mean giving it away for free.

Passion on its own doesn’t pay the rent.

9. Have you collaborated with/worked alongside anyone? What can you tell us about that process?

I have very rarely completed a project without the help of collaboration. Everything I do, particularly as a designer involves collaboration with producers, printers, clients etc. The only thing that I can say about collaboration is to be willing to communicate and listen. If you aren’t listening to others, you aren’t really communicating.

Something More than Flesh and Bone: End on the First Note, Adrian Doidge Design

10. What can you tell us about the struggles of being an emerging creative?

It’s tough to get around the tired philosophy that if you are doing real art it’s because you are passionate about it and it can’t also have a monetary value.

I believe if creative work is done for free, it should be the artist who is being empowered to make that choice, not the client deciding for you. I have this argument with other artists all the time, because they are also helping to perpetuate this draconian perception that art must be a labour of love and passion, not money. No, no, no, no!
That behaviour devalues everybody’s work, and you end up with a system where only a lucky and elite few are able to charge money for work rendered. Even though the client is benefiting from the work you produce.

It is difficult, but when you’re starting out it can be good to sit down and make a plan for how you will progress from doing art for free, into doing art to make a living. Think of yourself as an apprentice. You might spend your first year entering into work for nothing, and just being credited and attributed. Then in your second year you might add in the cost of materials to that. In your third year you might add in the cost of the time you spend on a piece. By the fourth year you should begin considering adding in a value for experience, skill and technique.

A doctor doesn’t just become a doctor because he wants to make money, they become doctors because they want to help heal people and to be rewarded for their efforts. The same can be said for an artist.

When you’re starting out, of course you pay your dues and get the experience you need. But after a while it’s okay to charge money for your labour and effort. Art is just as important to the human condition as medicine, the building and finance industry. Because what would life be without it?

11. Is there anything you’ve done in the past that you wouldn’t do again? Or would?

I would definitely live in Japan over again. I would certainly spend all of my life savings on studying and accomplishing my goal to be a professional creative. It’s the best investment in my life that I have ever made.

I wouldn’t forget to make better quality recordings of my work. During all of the moving I’ve done over the years I’ve lost hundreds of works. It makes me quite sad to think about.

12. Can you tell us about your style? What makes it meaningful/unique?

My visual style varies constantly, depending on the audience. But I would say that the style is always a bit tongue and cheek, and always existential. If it doesn’t slap you in the face or make you smile or encourage a discussion, I haven’t created what I set out to.

Zenism is going to be a part of that dialogue as well.

The Hands Will Guide You, Adrian Doidge Design

13. What is your philosophy as an artist?

I don’t make stuff just to be pretty or on trend. My philosophy as a designer is to always have something to say, a story to tell, an opinion or observation. It’s important to me that my design creates a conversation that extends beyond whether you like something or dislike something. I believe that art and the visual landscape is supposed to help us talk about issues beyond the ordinary and mundane. If it’s a logo, how will it show personality and what the business represents? If it’s a shirt, what is the feeling and mood it conjures up? If it’s a piece of marketing for the education industry, how can it contribute to a more constructive and realistic discussion about what the education could accomplish for the student’s future?

14. What are you focusing on right now?

My focus is always on pushing Zenism forward.

Over the past 8 – 12 months I’ve been laying the ground work with my associates at Daksha Ethical Style, to get the basics of Zenism down pact. Now I’m in discussion with pattern makers who are helping me to translate my designs into shirt samples which will then go into production with a small bamboo garment business in Thailand. In August I met with the bamboo people to create the spring/summer “sesshin”.

I’m really enjoying working with small groups of artisans and craftsmen to get the brand off the ground. As soon as Zenism is able to get some autonomy and independence, it can start helping more artisans and craftsman across Asia and the Pacific to gain their own freedom.

Right Livelihood for Design, Adrian Doidge

15. When you are designing are you conscious of yours/your audience’s biases?

I am as conscious as I can be. I think there is a certain amount of intuition involved in design which helps me to create things that my clients will like, and there’s certainly an inner urge to get praise and approval directly from the client. But I also have to be aware of how it will communicate to their audience. Sometimes this means that I have to sell the work a little harder. Sometimes what the client wants and what the audience will better respond to are very different.

If I can’t sell it and the client thinks that the work isn’t speaking to their audience, that’s when I have to re-evaluate who I/we think the audience will be.

Zenism – 1000 Journeys, Adrian Doidge Design

16. What is your process for getting the design right for your client?

I usually work on a three draft system, with a consult on either side. I find out in the first consult exactly what the client is looking for, and I provide them with a detailed timeline of how that project will be accomplished. I think this is really important as it gives the client confidence in an otherwise mysterious creative process.

In this three draft system we are able to identify how the work should appear and what the purpose is, then we create and refine from there. I make a point of taking detailed notes and sketches at each progression of the project, just to be sure that we are 100% clear on what is needed, and also to cover myself if the project goes south for one reason or another.

If we haven’t got the work to a point where it’s ready on the third draft, it usually means that the communication has broken down. It then becomes imperative that the communication is mended before moving forward. Being open and communicative is the most important and distinguishing feature of my design work.

If you’d love to know more about Adrian’s work you can find him here:

Adrian Doidge -Design on Facebook

Zenism – by Adrian Doidge on Instagram

Ali. x

Katherine Kilburn’s illustrative designs bring to life our natural environment with thought-provoking poignancy. Her works blend images from nature with repetition of patterns and lines, vibrant colours and fluid typography.

Her patterns and shapes within and around her designs are inspired by the complexity of life. These intricate details a reflection of her passion to convey strong ideas, nuanced by her desires for conservation as well as a portrayal of the world around her.

She credits her love of nature in part to her childhood home, and in part to her schooling. “We moved to Tallebudgera Valley in 1996, to a beautiful, lush green valley full of hills and windy roads, and endless greenery and wildlife. I think growing up there, and finding this hidden serenity behind the busy Gold Coast played a great part in how I express myself through my work and the subject matter that I base my ideas from. My obsession with drawing patterns and animals and people spans the entirety of my life. I went to primary school in the valley where there was a huge emphasis on creativity and exploring nature. Often we would walk through the trail in the forest across from our school, gathering moss from trees and leaves from the ground to do art projects with. And most of all I remember drawing – the feeling of complete freedom of expression and seeing your daydreams come to life on the paper.”

Kat Kilburn – ETERNITY

Having always immersed herself in some kind of art, Katherine knew she would pursue a creative career. With the support of her family, in particular her Grandmother, her Nan and her Mother she has tried lots of different creative endeavours – from china painting and watercolour, calligraphy and woodwork. “My family is full of brilliant creative people who have taught me along the way by sharing the joy of their craft. I think the best practice of art and design for me, is living and breathing it every day and seeing your progress along the way of how you have grown as an artist.”

Since studying at Designworks College of Design in 2011, Katherine is now working and building her design portfolio and admits she has created more in the past few months, than she has over the previous eight years. Like many creative people, she experienced a time where she wasn’t very productive. She felt stagnant and spent a few years away from her drawing. It was curiosity and concern for the endangered rhino that drew her back into the practice.

“Knowing that a lot of these beautiful creatures will cease to exist at some point (possibly in our lifetime) deeply saddens me… I guess illustrating them is my strange way of preserving them. And of how I can help as one individual, to at the very least, bring awareness. It is just the first of a series that will hopefully manifest into a body of work, ranging with all animals that need more attention and some help. This project will be 100% for the cause and I am so excited to see it unfold over the next year or so.”

Kat Kilburn- RHINO (Connection) Illustration

“I find the meaning or symbolic consensus behind nature and creatures upon this earth really interesting. How they come about, and why we regard them in a certain way… I love to watch life, as an observer, I find it really intriguing and take it all in, eventually it comes out in my work. It manifests into an intricate design of expressions of shape and line work.”

Kat Kilburn – GUIDANCE

Music is also an integral part of Katherine’s creative process and she says: “[music] plays a massive role through my artwork. One line can influence or spark an idea for an entire body of work. They can be really moving and powerful and ignite really strong ideas.” And one of her more recent ventures was to design album art, printing collateral for gigs as well as media kits for local band Neem.

Kat Kilburn – NEEM Love Was Lost

Taking a hands on and fluid approach to her illustrations, Katherine says she prefers the visceral mediums of pen or graphite to creating with the computer. “I love starting with a blank sheet, most often without a plan, just going with the flow of the energy of the moment, and just letting it happen.” Her most recent collaboration will see some of her work featured on homewares and other various products for a business launching later this year.

This is exciting for Katherine, as she begins to gain traction with her designs. Her struggles with confidence in her work is something most creatives experience at some point in their careers and those that meet their goals are those, like Katherine who see that being an artist means having grit.

“My philosophy is to work hard; to keep going because the more practice really does make for better results. You can only ever improve if you keep pushing past the ‘difficult’ points of your journey with art. Never let the world get you down… As I begin a project I find clarity and solace as I fill the blank white pages with inky textures and patterns. For me it’s the actual act itself of drawing or doing art that is meaningful, I mean it’s a way for me to escape this place we have no control over and go somewhere that I have complete control of, in which case the end result really doesn’t matter – what matters is that I keep on keeping on.”

With this attitude, Katherine is surely destined for great things.

“Art and the act of creating is always like that, it can lie dormant for years, until you ignite a strong idea or to express a message that needs to be conveyed. I’m not sure where its headed at the moment, I’m 25 and I know that as I move through the different stages of my life, as a friend, a child, an adult, a Mother, that I will have different desires to create different bodies of work. My work is a portrayal of my outside life and will be forever changing.”

Love to know more about Katherine? Find her here:

Instagram: @kat_kilburn
Facebook: /katkilburndesign
Pinterest: /kat_kilburn
Website: katkilburn.com

Ali.x

The arts’ love affair with the realms of scientific discovery go back centuries to the days of Leonardo Da Vinci, where his methods of scientific theorising influenced by the arts, in particular painting, led to his uniquely holistic view of science, making him a pioneer in his time. Likewise, 16^th century Dutch artist Johannes Vermeer’s fascination with the astronomer in his painting of the same name, was a celebration of the new technology at the time. Over the centuries to follow, artists have continued to express their fascination with theories which overlap scientific disciplines in environments similar to laboratories, investigating materials, people and cultures in order to better understand them.

In our modern world, science and art overlap in much the same way and Scenic Rim artist Alinta Krauth’s works explore the interweaving narratives of scientific data, she says:

“You see, in my head art and science is so intertwingled that I find it hard to separate them. To me, they’re different ways to explore the same data – that data being the world around us and the universe beyond. In the end, the sciences make an easy to read version, and the arts make an easy to love version, and both are necessary to allow the general public to be involved with, and find these topics important.

 

Often when people think of SciArt they think of art created through scientific methods or using scientific themes, but actually I think the connection is much deeper than that, the connection is in the fact that both artists and scientists have to first and foremost be innovative and able to find creative solutions to problems. Without imagination, Newton, Einstein, and Hawkings would not get where they did. Beyond maths, they had to imagine situations and create connections between things that were previously not connected, and that’s what artists and writers do as well. And in the quantum era this is surely even more important. Creators are people who use their mind to make something out of nothing – a great skill – and one that all good scientists, inventors, engineers, architects, mathematicians, etc, require. Stagnant scientists who can’t think creatively are surely going to struggle to advance their field.”

Alinta says her work is also greatly influenced by space. “Growing up in the rainforest has meant that I find the eco sciences and the natural world to be important and beautiful subjects,” she says. And she has incorporated this into one of her current projects Tree:Mails: an interactive work designed to engage the community with their natural environment (more info on this later in the month).

Alinta is an expert at using technology to engage the community and another example of this was her Bioluminous Walking event held on May 1, at Tamborine this year. In this event, she used hidden technology to illuminate the forest pathway with native animals that “would have, at least at one time, been seen in that habitat. It allowed visitors to step into the magic but also keep the rainforest untouched by cumbersome projectors, generators, or computers.”

Local rainforest and bushland also play a significant role in the works of Logan artist Merri Randell. Her work consists of audio-visual installations, animating images of local bush land, particularly the undergrowth, to create an exaggerated experience of the vegetation and wildlife. She says: “[If people can] appreciate the reality of my monstrous trees, they might appreciate other things outside the norm – that these trees, places, people or cultures have value.”

In fact, the value of our natural environment is front and centre to many artists’ environmental explorations, an issue that is more prevalent today than it ever has been. Mankind has never been good at forethought. Particularly when it comes to our ability to look beyond our years and plan for future generations. Art cultures’ participatory nature plays a vital role in continuing to engage people in the dialogue surrounding our current climate – in giving data a relatable narrative.

Sunshine Coast artist, Shana Dean aka Heartweaver uses weaving as a way to engage people with their world again. Her workshops begin with a tour of your local backyard and landscape, where she points out the materials you can find around you to begin your weaving journey.

By learning to search for local indigenous plants, you are encouraged to have a new appreciation of the world and see it in a more practical way. Shana told Pilbara News (WA): “[Weaving] offers a fun and unique way for people to experience connection. Connection with themselves, with others, with their communities and as a deeper way to connect with and appreciate the land we live on.”

Creative exploration of our environment might be the best way to personalise it and imbue the science with colour like Leonardo Da Vinci did all those centuries ago.

Ali. x

Adam Buchanan is a Social Researcher and Community Worker, a musician, an artist and an all round champion. He is passionate about Animal Welfare, Arts and Culture, Education, Environment, Human Rights, Politics, Health and Social Services amongst other things. This month he visited Brisbane’s REDSEA Gallery and has been kind enough to give us his impressions of Kristian Williams exhibition: Electric Metropolis.

During the month of July, Kristian Williams’ neo-expressionist works are on display at Brisbane’s REDSEA Gallery. Inclusive of some 20 or more works, the exhibition takes up a considerable amount of space in this modestly sized gallery. The works themselves are acrylic and oil on canvas, which seem to have been applied with a mixture of techniques. The dimensions of these works varies, some being the size of the average dining room painting, while others reaching a respectable wall filling scale.

Kristian Williams, courtesy of the Redsea Gallery, Brisbane

A consistent theme within Williams’ work is the human form, specifically, portraiture of the face and upper body. Neo-expressionism sensibility has largely dictated the design of these figures, particularly, Williams’ has propagated of works by Jean-Michel Basquiat, to create twisted and abstracted realisations of human physicality. Their faces are skull-like, and boast teeth filled smiles or grimaces. Some of these figures wear easily identifiable objects such as feathered headdresses, or necklaces. However, in many instances the figures seem to be naked, removed from personal items of clothing. Although each work places the human form at its centre, in many cases these figures are also accompanied by other imagery.

Kristian Williams, courtesy of Redsea Gallery

The three works London gossip, Paris Gossip, and Rome Gossip, each depicts a person from the waist, a small bird, with an urban environment in the background. The individuals in these works each possess a single female breast, and while this does not confirm gender, it certainly comments on sexuality perhaps individualisation or confusion of sexuality. By combining imagery of urbanism, nature, and human form, with a frenzied and aggressive style, the viewer will question interactions between society, the environment, and the self. A great deal of the emotive quality of all of Williams’ works come from his use of expressive eyes, that in many cases seem to stare directly at the viewer. In Dreary Days we see a figure who appears tired and/or relaxed while in Paris Gossip a dazed look is present, and in each case these sentiments are conveyed solely by the eyes. Weaving around and between forms are arrows, lines, and dotted lines that allude to chaotic inertia. These lines also acts as a visual guide, steering the viewers gaze around the canvas to each and every focus point.

Kristian Williams, courtesy of Redsea Gallery

Williams’ use of colour is certainly the most impactful and obvious technique he has employed. Each work often prioritises one or two colours, one as a quasi-border that helps define the work, the other filling forms and enabling them to stand out, while intermingled amongst these dominant colours are spatters of various others. In every instance colours of a complimentary nature have been prioritised, their arrangements accentuating their oppositions, which creates bold and aggressively vibrant works of art. Indeed, the vibrance of these works bestows on them a sense of spectacle that demands the viewer’s gaze, one that I doubt the casual passerby could refuse. While Williams’ work clearly propagates artist Jean-Michel Basquiat, and to a lesser extent Norris Embry, Georg Baselitz, and even David Salle at times, the works do stand on their own as captivating and thought provoking.

Get over to REDSEA Gallery on James Street this weekend — for the annual Food and Wine Trail! Then pop in for the final weekend of Kristian Williams solo exhibition.

– Centro 2 27 James Street, Fortitude Valley, Brisbane. Ph 07 3162 2230.

Visit Kristian here:

kristianwilliamsart.com

Kristian Williams Artist – Instagram

Adam.

Anticipation Series -Hesam Fetrati

It is easy to see how Hesam Fetrati’s upbringing in war-torn Iran, has informed his body of cartoons, his detailed illustrations and 3D installations. His black and white works expertly delve into socio-political issues that are not so black and white. The absence of colour creates room for contemplation, and his masterful balance between assertive symbolism and detailed surreal elements add layers of complexity and meaning.

Blindness Series Stationary Train- Hesam Fetrati Pen Ink-print on paper 50 x 70 cm 2012

Moved by the plights of displaced people affected by the Iran Iraq war, and those of refugees all over the world, Hesam worked as a satirical cartoonist for a few well known Iranian newspapers that valued freedom of speech before moving to Brisbane in 2011. He has now completed a Bachelor of Graphic Design, a Masters degree and is currently completing his Doctorate in Visual Art. But Hesam says his work is informed more by his background and society around him, than his study.

“These degrees have been helpful, however, I think I learned more from myself and my society rather than university…I come from Iran which is an influential country in the Middle East. Iran is a wealthy country with rich natural recourses like gas and oil…The geopolitical situation of Iran caused several socio-political crises. For example, Iran Iraq war which is the longest war in the 20th century. All these historic events have a huge impact on me as a citizen and as an artist.”

Hesam explores allegories of diaspora, alienation and rejection via a range of common reoccurring elements such as anthropomorphised and abandoned suitcases, boats, castrated trees, severed heads, deformed figures and sea monsters. His dark, tumultuous seas and murky skies might suggest deeper psychological perils in addition to the physical dangers of the journey to seek asylum. Works featuring chess pieces are used in the context of war and he also delves into issues surrounding religion and the concept of home.

NO WAR Chess Series: Hesam Fetrati

He explores his subjects in a very deliberate way. His satirical works are simple but effective designed to draw attention to the irony and injustices taking place all over the world as globally we experience the highest number of refugees (50 million) since WWII. The work Medallion of Selfishness is one such example. Hesam says “This piece was created in response to two particular incidences that took place on Manus Island within the detention centres: The death of one refugee to violence and another to unacceptable living conditions. This ironic medallion is an award to those directly and indirectly responsible for such incidences. The Medallion of Selfishness is a distinction for this inhumanity and barbarity in the 21^st century. It has been made from bronze to make it more physical and touchable to show how these incidents are close to us.”

Medallion of Selfishness – Hesam Fetrati

In his more detailed work, Hesam’s symbolism is specific, the surreal details layered using images within images. In this way, he cleverly allows his audience to challenge their own ideas and continue to find new messages buried deep within the works. He often uses recognisable landmarks and figures hidden within the works to illuminate the complexity and the familiarity of the subjects.

Hesam prefers satire because it inspires a thoughtful response and he says he often researches and thinks through ideas for months, before working mostly alone, describing his creative process as an isolated, quiet and personal journey. Hesam’s body of work is often serious, but sometimes playful and complex.

Severed Roots Series Screaming: Hesam Fetrati
Pen Ink-print on paper_42 x 60 cm_2012

“I have tried to avoid making a series of work to reflect the anger and compassion of the victim and the viewer but instead I reflect more on the context surrounding the situation and allow the viewer to pass their own judgment on the activity.” https://www.artpeoplegallery.com/anticipation-series-journey/

Hesam exhibited work as part of the Finding Home: Refugee and Asylum Seekers Art Exhibition in the Logan Art Gallery (ending July 2) and also has work in the Tradition Now Exhibition in the State Library in Brisbane until the 13th November.

If you would like to know more about Hesam Fetrati and his work you can find him here:

https://www.instagram.com/hesam_fetrati/

https://www.facebook.com/Hesam-Fetrati-144900562264216/?fref=ts

http://www.boredpanda.com/chess-series-my-satirical-responce-to-my-society/

https://www.artpeoplegallery.com/anticipation-series-journey/

Ali x.

Sam Randall employs the use of colour, detail and layering to portray fierce images that invoke a feeling of connection, whilst portraying universal narratives. The intensity of her colours are often juxtaposed by dark backgrounds, lending weight to the foreground, but also giving us the sense that there is always darkness lurking within and around us.

Sam Randall Montage 1

Sam describes her work as complexly simple, and it is at times confronting. Her interest in subculture, folklore and ancient Japanese and oriental art shine through in her use of particular plants and animals. Her striking use of skulls, often decorated and layered in bright flowers and plants, may represent stories of impermanence, transition or freedom as in the Mexican lore, Dia de los Meurtos (Day of the Dead) celebrations. We might also see narratives of transcendence via the natural life (and death) cycle, as in traditional Japanese culture.  Sam says:

“Technically, I am influenced by Surrealism, Abstraction, Impressionism, and Pop Art. All these genres influence my work in very specific ways. I’m inspired by life stories, subculture and folklore, symbolism, traditions, particularly the ancient and mythological stories passed down through generations, ancient Japanese art, unusual flora… and all things mythical, dark and oriental.”

Sam has pursued creative work her entire life, saying, “I truly believe if you are a creative personality type you just ‘are’ and must pursue a creative career to be satisfied. All my careers have been creative. I’ve been a hairdresser and beautician, a Children’s experiential play/ art therapist and a painter.” She currently works as a Children’s Counsellor for Act for Kids but has been working with and on behalf of children since 1997, becoming a qualified Social Worker in 2002 and a qualified Children’s Therapist in 2005.

Her signature style reflects her interest in universal stories of love, fear sadness, loss, anger and personal growth, which also comes from her work as a counsellor. We see her sense of wonder in her world, but beneath the layers we also get a sense of the deeper narratives.

Sam Randall Montage 2

“A painting might be my story, your story or a universal story we all experience… My practice is informed by theoretical and therapeutic approaches that allow children to articulate their life stories and express their emotions in safe ways that are typically not verbal. These are called experiential therapies (art, play, music, stories etc). This is also the premise of my art and its processes.”

Sam agrees that art is a very powerful process. Through expression and exploration a person can “process their issues and develop their own life narrative on both a conscious and unconscious level,” but should only be undertaken by a professional with the highly specialised skills. “It has the potential to unlock a person’s repressed trauma history and delve into their fragile psyche. Doing this and not knowing how to work effectively and safely bring a person back to a safe place can be extremely harmful. I often hear of people that (who may have the best of intentions) use art as therapy on others with no qualifications and this both angers and saddens me.”

Art Therapy is not to be undertaken by a novice.

However outside of therapy, art can provoke questions and spark curiosity or provide a sense of calm, which is valuable to many. Having been raised in South Australia with no siblings at home, Sam says she had plenty of time to ponder and explore her imagination. She was a “staunch introvert” and her daydreaming or whimsical stories are still the foundation of her art today.

“For as far back as I can remember I have drawn, painted, written stories and created things. It’s just what I did and as I got older I realised it’s who I am. Not having a creative career wasn’t even an option.”

She has also found inspiration from collaborating in an empowering movement of work created for Warrior Women  – various group exhibitions in Brisbane and Melbourne which expressed powerful images about womanhood and feminism.  But allowing herself to be a professional artist and being recognised as one was part of her dream.  “Everything on top of that is just lovely sweet icing on top the wonderful artist cake!”

Her advice to budding creatives is not to obsess over success, money, accolades and public recognition. “If I could share any wisdom it would be to spend a lot of time both in the beginning and regularly along the journey to fully understand what you create what you do and why. Develop your professional principals early. These can change but are the anchor to come back to.”

Sam Randall Montage 3

Sam’s philosophy?

“To create paintings that share a powerful story, evoke a strong feeling in the viewer, inspire others to think deeper thus live a life more vibrant.”

If you want to learn more about Sam and her work, please use the links below:

Sam Randall Art on Facebook

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One of the most important values that arts culture has, is the ability to create subcultures of like-minded people. Since its beginnings in the 80s, the Comic Con and Cosplay subcultures spawned from the comic books of the previous decades, have become an influential movement, giving rise to multi-million dollar industry and an art movement that embodies a carefree culture of fun and inclusivity. While the comic book narratives play a big part, speculative fiction and Japanese pop culture, anime and video games have been influential in shaping these communities as well.

One such member of this creative subculture is Melbourne illustrator and animator, Steve Kimber. His influence by anime and pop culture is obvious and his characters are a mix of old childhood favs, and new originals. Now the master of gleeful character-centric illustrations and light-hearted, random animations, his work is filled with colour and energy.

Stork the Talk – Steve Kimber

“I set out to have a good time and spread positivity.” Steve Kimber

Having studied illustration for 2 years and animation for 3, Steve has been a part of Supanova, Manifest (aka the Melbourne Anime Festival) and the CHAOz convention. And he recently had an exhibition at Melbourne’s RAW festival. He says the “art scene here [Melbourne] is extremely varied – and there’s a very strong video-game and retro culture that I find appealing.” His trade tools are markers, paint and pens, but prefers to render his pieces digitally as he enjoys experimenting this way.

“I find visual interpretation of human emotion and expression fascinating… Working digitally means it’s easy to experiment without irreversible consequence… the canvas is easy to navigate and organise.”

Steve has been able to build a vast community of people around him and his work, and asking for help and feedback from that community is part of his process –  which in turn means his friends online and off are part of his inspiration. He also appreciates being able to learn from any collaborative work that comes his way, such as Moon Animate 1 & 2, Seven Star Reanimate – projects that recreate episodes of popular anime series Sailor Moon & Dragon Ball Z, and the kickstarter project, Feel Good Zine a “collection of comics and illustrations from a variety of artists about what makes them feel good.”

Steve Kimber @RawMelbourne – photographer Luka Kauzlaric from Release Images

“Each person has different strengths and weaknesses when it comes to creation and organisation, as well as myself. Whether it’s playing to our strong points, or using it as a learning experience, it’s a matter of cooperation and keeping an open mind. When you work alongside one or two people it’s very fun to see their side of the process.”

Turquoise & Red – Steve Kimber

Steve’s colourful, energetic work imbues us with a positive and carefree vibe, which is felt by the community around him. He dreams of being able to make a living from his art, and his advice to any budding artists?

“It’s much easier when you enjoy making friends and contacts – it’s very much a matter of being at the right place at the right time, and having contacts all over can make you that tiny bit more lucky. Apart from that, constantly try and explore more ways to grow creatively, so that if an opportunity arises you won’t be overlooked.”

Pokemon Owlet – Instagram @Stevefilters

Steve’s philosophy?

Experiment with colour and subject matter, try things from new directions, don’t overthink a concept and have fun.

“Keep doing what you love and as long as you’re passionate and hard-working, there’ll be those that follow you on the journey.”

Space Kitty – Steve Kimber

Want to know more about Steve? Stalk him on the links below.

Tumblr: stevedoodled.tumblr.com

Facebook: https://www.facebook.com/SteveKArtist/

Instagram: @SteveFilters