raw ink magazine – march 2013

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Hello Readers,

Thanks for holding tight with us while this edition was being preped!

Once again, we’re excited to present to you some new and exciting stories that we’ve been working on this month. We hopeyou enjoy!

If you know of any creative events happening in your local area, or would like to contribute to the magazine, feel free to send us an email to:[email protected]

Don’t forget to like us on Facebook and follow us on our Twitter-tweets.

We’ll see you next month.

From,

The Raw Ink Team xx

THE RAW INK TEAM

ROXY COPPENGraphic designer and [email protected]

RUTH [email protected]

LIANA TURNERJournalist and [email protected] www.liana-anitra.tumblr.com

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THIS MONTH’S CONTRIBUTORS

EMILIE GUILLEMAINJournaliste.guillemain@hotmail.comwww.thegatheringaus.wordpress.com

SARA PARKINSONsparkinson100@gmail.comwww.ostentatious-style.tumblr.com

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COVER ARTWORK BYDRAHTFUNKwww.facebook.com/Drahtfunk

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FACEBOOKwww.facebook.com/rawinkmagazine

TWITTERwww.twitter.com/rawinkmagazine

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contents‘Good Bones’Emilie Guillemain

‘Chit Chat Corner withMama Kin’Ruth Dunn

‘Hayward Fine Art’Ruth Dunn

‘Seth Sentry’Liana Turner

‘Hide’n’Seek with Toombz’Ruth Dunn

‘Spit Syndicate’Liana Turner

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‘Bobby Alu’Liana Turner

‘Spotlight Interviews with Brisbane BasedYoung Designers’Sara Parkinson

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EMILIE GUILLEMAIN

There’s something aesthetically pleasing about having beautiful furniture in the home.

For those with an eye for design it’s impossible to overlook the complexities and gorgeous shapes of objects, but often for a lot of us we miss the story behind the pieces and how they came to be a part of the picture.

For Brisbane based photographer Nicolette Johnson, an appreciation for great craftsmanship and a keen attention to detail is what lead her to the creation of‘Good Bones’.

After coming home from a trip to the United States earlier this year, Nicolette was persistently searching for jobs in photography and design. With little opportunity surfacing she began to think about her love of good furniture, her passion for photography and ultimately, a way to combine the two.

“I was laying in bed thinking…I wish I could just photograph furniture that I love and make money from that and then I thought…I should just do it. Why not? It’s something I really love and if no one will take me on to something that I would like doing then I should just do it myself.”

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EMILIE GUILLEMAIN

Photographs by Nicolette Johnson

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A small creative business that’s just getting its foot in the door and into the homes of purchasers, ‘Good Bones’ hand pick and restore vintage pieces of furniture, taking the time to arrange and style products in a way that speaks to their audience.

Nicolette explains that her love of art deco and vintage furniture comes from a mix of well thought-out design and personal history.

“The designers put so much careful thought into how people are going to sit in a chair, where they’re going to be sitting in that chair and all of that goes into how something was made back then. I also get a certain feeling from mid-century furniture that reminds me a lot of where I grew up—the South-West of America. It’s very cactusy and deserty (smiles), very 50s and 60s which I love. It all reminds me of that and I really like surrounding myself with furniture from that time.”

Mainly sourcing pieces online at Gumtree or in person from op-shops and the occasional antique store, ‘Good Bones’ attempts to present pieces of furniture in a way that relays a visual language. Inspired by the quote: “Objects can act like words of a language in which meaning is produced by putting things side by side”, Nicolette draws upon her visual literacy skills to create this atmosphere in which she photographs ‘Good Bones’ furniture.

“A piece by itself can be stunning but then it becomes something else entirely when it’s placed in a room with other objects around it. The other objects inform that piece; it acquires an energy and becomes something new that it wasn’t before.”

A timeless creation holds an undeniably special quality. Once produced, it exudes style, presence and integrity in a way that cannot be replaced by your average stick of furniture. ‘Good Bones’ means exactly this.

“You know when people say a crappy car has “good bones”, that you can salvage it? Maybe it’s got a horrible paint job, the bumper’s falling off but underneath it has a great structure and if you spend some time with it, it can be an amazing piece. That’s what I want to portray to people. A lot of the pieces are from mid-century and things created back then were just virtually indestructible. Everything that I have in the shop has a good underneath side, a good soul and it shines through when you put a bit of time and effort into making it that way.”

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To have a browse of‘Good Bones’ head on over towww.goodbones.bigcartel.com


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Chit Chat Corner with

Mama KinRuth Dunn

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Following the recent release of The Magician’s Daughter, Mama Kin will tour Australia with her alchemic mixture of soul, energy and beautiful compositions. Following Mama Kin’s critically acclaimed album Beat and Holler, The Magician’s Daughter is an exploration and expansion in story-telling, composition and production, a breaking of boundaries and a revolution of Mama Kin’s song-writing. I had a chat with Mama Kin about her new album, the challenges she faced and her inspirationsand motivation.

So firstly, tell me about your music in your own words—I write music that, at whatever time in my life I am writing it, is me diving most deeply into the parts of myself that I want to explore and the parts of the human psyche that I am interested in exploring. I express that through the medium of music and I express that through story telling. I don’t really know what the style of music is.

What is motivating and inspiring you as a musician at the moment?At this point in time, what I am most motivated by is the idea of getting out on the road and playing my new songs live. I’m really excited about performing these songs with audiences who are engaging with them and who I am engaging with. I love playing live and I love that medium so I’m really looking forward to that. As far as other people’s music that is inspiring me…I’ve been listening to The Falls, Laura Marling and all the regular favourites, you know, Ray Charles, Aretha Franklin and all the oldies and goodies.

I’ve been reading about your environmental activism, which I’m assuming is a passion of yours...Yeah, I mean I wouldn’t call it activism. I’d call it more just being an active participant in my community where I feel like being engaged in a community is the same as having an apple tree and sharing your apples, it has the same kind of philosophy to me—that we want to share wellness and we want to preserve places where we can support the planet and explore as humans. So I don’t really see it as activism, it’s just an active way of thinking.

Can you tell me about some of the environmental projects you are involved in and why?The main project I am involved in at the moment is a project to protect the Kimberley region from industrialisation by the state government. It’s just going to be a disaster for that coast—a disaster for that area, a disaster socially and spiritually for the people up there and also environmentally. I’m also connected to the family that is working hard to protect that country so that campaign feels like a personal thing to me.

You have struggled with depression and fear of failure but you have overcome these struggles to launch a successful career in music. How did you overcome these struggles?It’s been a long road of incremental discoveries and lifestyle methods which really helped. I’m most well when I am exercising and meditating regularly and I do transcendental meditation. I think having a life now where I am expressing my creativity and living a life where I feel like I’m on my heart’s path definitely helps with it as well because I feel stronger in my integrity with who I am as a person and with my life.

Do you have advice for other musicians who are struggling with similar things?Depression is a serious mental illness and it shouldn’t go untreated. When I say ‘treated’ I don’t necessarily mean anti-depressants but I mean you can do things like finding things that work for you—for example being more creative and expressed, meditation, exercise, more fresh air, whatever you enjoy and whatever works for you. Theses things might not cure your depression but it will be a combination of things, depending on the severity of the depression, that will definitely help alleviate it and help take some of the sting out of it. As far as being afraid of failure there’s a great quote which is something like ‘our level of grief or our level of pain around any issue is directly correlated to our level of attachment’. So if you loosen your attachment to your idea of success, or change what success means to you, then the fear of failure becomes a whole different thing because ‘what are you actually failing at?’ is the question. You are potentially failing at a whole different thing if you’re not doing it at all. If your

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level of success is to be self-expressed or to be creative daily, then not taking creative risks is the actual failure. I think moving what your idea of success is and where you think failure exists can be a really positive thing. So I think creating an environment in your mind, in your being and in your body that is most fluid and alive is probably the best thing you can do. That’s the best thing I have found for myself as an artist.

Thank you for that insight. So onto something exciting that is happening for you—your new album, The Magician’s Daughter, came out on February 22. Can you tell me about this album?I suppose it’s a kind of broadening and deepening from Beat and Holler. It’s a revolution of my song writing and it feels like the next step for me. I’m really excited that I have made an album that is so different from my last album because I feel like if there was going to be a box for me I’ve broken it. My theme for this album is around alchemy, energy and connection. So they are the main themesfor me.

Would you say you challenged yourself a lot when making this album?Absolutely. I challenged myself all the way and I realised that being uncomfortable is a good state of play for me in creative space—I need to actually be on the edge of what I’m doing. So getting used to being in situations that aren’t necessarily easy and just channelling that feeling into what I’m doing and using that charge has been very important for me.

When you write songs do you mostly write them from your heart or do you have a listener in mind too?I don’t have a listener in mind. I write songs from a desire of wanting to explore a story or an idea or an emotion or a certain feeling. I write them because I love that process and I love writing as well.

I guess it’s an added bonus that you have such a positive reception of your songs by listeners...Yeah, I feel really grateful to people who listen to my songs… and I’m still surprised by it because they feel like such a personal process and then you go into a studio to record them and all of a sudden you give them all to the world. When people listen to and enjoy my songs it still amazes me because they are just personal explorations.

For information about Mama Kin’s Australian tour dates in March/April head towww.mamakin.com/tourshows

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minou artwww.facebook.com/missminou.artwww. instagram.com/minouart (or #kittyart #minouart for found works)www.flickr.com/photos/74299079@N05www. minouart.tumblr.com

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S E T H S E N T R Y

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S E T H S E N T R Yliana turner

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Last week, Melbourne rapper Seth Sentry announced a tour in celebration of his most recent single, ‘Dear Science’. The single, lifted from his debut album This Was Tomorrow, has been picked up across the airwaves as fans everywhere contemplate the question: “Where’s my hoverboard?” – and fair enough, says Seth. “Originally I had some other lines for that song,” he says, “a bit more serious.” Without deserting his charmingly cheeky approach, Seth says he aimed to “have a go” at the direction in which Science seems to be heading – and whether or not that direction makes sense. “90% of the government’s funding going into science is used for military applications,” says Seth.

Meanwhile, Seth has also released the Dear Science film clip – featuring everything you could hope for – with the regrettable exception of the infamous hoverboard. The clip was a lot of fun to create, says Seth. “It was directed by Grey Ghost,” says Seth. “After seeing his other work, it was a no brainer. I played a bunch of different roles; it was heaps of fun.” While it may have lacked our most yearned-for technology, the clip did include shots of Seth driving a DeLorean. A bit of a nostalgia-fest for anyone born in the 80s, this film clip just might make you rummage through those old boxes for VHS versions of Back To The Future. “I’m a massive fan of 80s movies,” says Seth, “I’d expected more things to come out about Back tothe Future.”

On a lighter note, Seth is positively gearing up for next month’s tour. “I spent so long touring with the 5 songs from the EP, having to stretch it into hour-long sets,” he says. “It’ll be good to tour with the whole album, with longer sets.” To Seth, getting out there and seeing the fans who enjoy his music is the greatest thing about being on tour. “It’s great just meeting people who bother to buy my album… who listen to my music and know the lyrics,” says Seth, whose first such experience was a shock for the musician. “It was so fucking weird,” he says.

After releasing This Was Tomorrow through his own label, High Score Records, Seth’s music has made a splash across the music scene – nationally and internationally. He’s been invited to play Texas festival South by South West this year, as well as Canadian Music Week in Toronto. “It’s really amazing, because I’ve never been out of the country before,” says Seth.

Anyone planning to head along to his upcoming shows can expect nothing short of funny, quirky charm. “It’s pretty silly,” he says, “But I don’t want to come and rap the hell out of people. I just have the sickest time and have fun, and go off the cuff.” Anyone holding their breath for new material might be a little satisfied to hear it’s on its way. “There’s a few collaborations which are finished and waiting to be released,” says Seth, “And I’ll be starting work on a new album towards the end of the year.”

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Dreams, goals and passions are parts of life that we can either choose to pursue through hard work, patience and determination or allow to be dislodged from our life by thoughts and feelings of apathy, defeat or frustration. Bob Hayward has chosen the former and after 15 years of working towards his goal of opening his own gallery, Hayward Fine Art is officially open.

Bob has long been an avid reader, observer and collector of art—a passion which is easy to see when talking with him. His goal to open his own gallery developed out of a desire to be involved in art on a deeper level and to provide a gallery that focuses on international contemporary art.

As a gallery committed to showing works of art that have something to say, Hayward Fine Art has fittingly opened with an exhibition by leading Chinese photographic artist, Tian Taiquan. The exhibition, “Memory of Time”, focuses on Mao’s Cultural Revolution, a past that has been largely buried in China.

“I decided on this particular artist because I have always most appreciated art where it’s fairly obvious that the artist has something to say. I’ve always liked art that challenges

the system, that promotes freedom, promotes liberation,” says Bob.

Tian was himself a member of the “Red Guards” as a young boy, directly experiencing the destruction caused by the Mao revolution. The Red Guard was a youth movement formed and brainwashed by Mao to rid China of its old customs, old culture, old habits and old ideas. Those who stood against the revolution were attacked verbally and physically, beaten and killed. Though contemporary China has largely buried this past, Tian delves into his own memories to bring this history to the surface, to acknowledge past wrongs so that society can move forward.

Walking through “Memory of Time” is experiential on a number of levels. The large scale photographic montages not only accentuate the message but they give the effect of first-hand viewing, like Tian is holding up a window saying ‘see what I see, don’t look away’. The large scale, fine detail, lighting and high quality also create a somewhat tactile experience. The smooth, porcelain surface of the women’s skin, the rough surface of the stones and the thick material of the “Red Guard” uniforms are so clear and defined that they can almost be felt.

These textures are accentuated in artworks where the skin of the woman transforms into the rough stone pushing down and burying her memory. This creates a contrast between the rough stone and the soft, delicate female form. Tian chooses not to explain his work, however perhaps here he is addressing the roughness and brutality brought upon delicate, innocent people during the Mao Revolution.

Many of his subjects have had their individuality stripped from them. The women’s faces are mostly cropped out of the image, turned to face away from the viewer, buried under stone, or obscured by Mao propaganda. The clothes they wear are Red Guard uniforms and many of the bodies have been stripped of their clothing. This reflects the violence Mao brought upon Chinese society in order to force them to conform to new customs, habits, culture and ideas. While millions of people were discarded and brutally cast aside during Mao’s leadership, Tian has carefully placed bodies within his images in a respectful and delicate manner.

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“I think there is a lot more to the artwork than just a politically toned message but I feel that the artist is expressing dismay at the terrible things that happened in the past, exerting pressure for change within various elements of the work, and like a lot of artists he is leading the way by insisting on change in society for the betterment of the ordinary person,” Bob says.

This exhibition is an aesthetically beautiful series of works, a thought provoking insight into a painful past, a brave freedom of expression and a memorial to those who lost their lives during Mao’sCultural Revolution.

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To learn more about Hayward Fine Art gallery and Hayward consultancy services visit www.haywardfineart.com.au

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Hide ‘n’ Seek Project is a writing project about Bris-bane Street and Graffiti art. It includes interviews with some of Brisbane’s best Street and Graffiti artists and gives insight into these vibrant art movements. New material is published regularly, exploring the Brisbane street scene and the artists that work within it.

This month I interviewed Toombz, read on to check it out!

If you’ve spied some street/graffiti art in Brisbane and want to publish some photos or let me know where it’s at email me!- [email protected]

HIDE ‘N ‘SEEKPROJECT

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RUTH DUNN

HIDE ‘N ‘SEEK with

How long have you been an artist?I’ve always been interested in art; I’ve always drawn. However I’ve only really started to take my art seriously in the past 3 or so years while studying visual art at university and I’ve been enjoying delving deep into my work and exploring it with a new understanding.

When did your alter-ego, Toombz, come into existence?Toombz was something that came into existence in the beginnings of 2012. It sort of came as a reaction against the strict art education I was receiving. It gave me a release free of expectations of others.

Why did you become interested in street art?I found myself yearning for an outlet that sat apart from my ‘fine’ art practice, an outlet that was not dictated by concept or where it would sit in a contemporary art context. It could purely be about creativity! I’d always had an interest in street art but had never even considered that I could do it. Then I had the pleasure of meeting Barek (whose work I had admired from afar for some time) at a collaboration at Jugglers Art Space with a student-based organisation called “Post Datum”. It made me realise that the street artists in this city were just creatives like me! It gave me the confidence to push forward with my own street art. Along with my friend LittleLamb, I started to experiment and haven’t stopped since. I started making stickers and meeting other street artists and I got addicted! I love the thought that my creations can pull someone out of their day-to-day ritual and give them a little smile or at least

Toombz is a multi-disciplinary artist who works in a gallery setting using installation, video and photography while also developing his street-based practice. I had a chat to Toombz about his imagery, mediums and themes and got some insight into what it’s like to work across both gallery and street environments.

make them more aware of the space around them. I like that street art breaks down the walls of the gallery and gives art directly to the people. I also love that with a little help from some friends I have had work (however temporarily) hanging in Europe, Asia and the US!It’s crazy!

What mediums, ideas, themes and images do you play around with in your street practice?I try to explore all sorts of mediums! I base my Toombz work primarily on stickers, paste-ups and painting however it often overflows into video, photography, costume, installation and whatever else I think of. My work is generally a representation of what it is to be human; emotion, instinct and freedom of creativity, while also having a focus on life, death, ritual and religious practice (hence the name Toombz). My work includes lots of tribal and religious symbolism and even a secret language (which I hope someday someone will crack!).

What are the origins of the imagery you use in your work? I suppose the imagery in my work has come from a long-standing personal tradition of drawing cartoony characters and quirky creatures mixed with some of the more serious themes that I’ve gained with age. I’d say a long held fascination with ancient history and art history probably has a pretty hefty influence too with references to ancient Egyptian mythology and artists likeMichel Basquiat.

You mentioned in a chat we had earlier that you bring your alter-ego into a gallery setting while also developing your street–based practice. Can you tell me about how street and gallery mingle in your practice?Street and gallery meet most strongly in my video works I think. I often bring the themes of my work, particularly what it is to be human, religious ritual and notions of personal freedom into my videos. Additionally I’ll often use my character imagery to form costumes or masks to bring my characters into a three dimensional realm. Not to mention that I wouldn’t find the abandoned wonderlands that I film in without the influence of some of my street art pals!

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Would you say the work you create for the gallery falls under the same umbrella as your street work, or is there a line between them due tothe context?I’d say that although there are crossovers there is definitely a sharp distinction between the two. Often in a contemporary art context my stickers are seen as much too figurative and basic. However in a street art context my other art can be seen as overly strange or conceptual. But I think that as long as I’m aware of these contradictions I can work with them and challenge them, because both parts of my practice are fulfilling and each corresponds to the other. Neither would exist in their current form without the influence of the other.

What’s the best thing to listen to while you work?Lately I’ve been listening to a mixture of music by Nicolas Jaar, Ghostpoet, Shlohmo and lots of other beautiful tunes with subtle beats and ambiguous sounds. However I certainly don’t shy away from some Alt-J, Gorillaz or Hermitude. My music taste is a little scattered. Moldy Lovers and Yeasayer when you need cheering up, Ben Howard and Powderfinger when you need to relax and Blink 182 or The Offspring whenever you like!

Shout out to Brisbane artists- They’ve all been so good to me! They really are a friendly bunch. I’m sure I’ll forget a lot of them. PhilB, LittleLamb, Chris Doyle, Beta Max, Ryan Lalot, Barek, Jacinta Howard and Revy Hamilton would be my tip to watch on the art circuit! They all vary in style and practice but their work is amazing beyond words and they certainly continue to be an inspiration to me.

TO CHECK OUT MORE OF TOOMBZ HEAD ON OVER TOWWW.T00MBZ.TUMBLR.COM/TAGGED/TOOMBZ ORWWW.FACEBOOK.COM/TOOMBZ.ART

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Spit SyndicateSpit SyndicateL I A N A T U R N E RSpit Syndicate’s new single ‘Folly’ has been gracing Triple J’s airwaves since its official debut. The second single to be lifted from their upcoming album Sunday Gentlemen, the song follows ‘Beauty in the Bricks’ – and has been equally successful. The inner-western Sydney hip-hop duo are preparing to tour next month – and it won’t be something to miss.

‘Folly’ is about “living fast while the living’s good” and – without quite idolising youthful recklessness – it’s about making the most of the present moment.

“It’s not exactly something we haven’t touched on before,” says one half of the duo, Nick Lupi “It’s partly about making ourselves feel better about out lifestyles,” he laughs, “Partly because in your twenties you’ve got less responsibilities than twenty years later.”

Just months after the triumphant release of ‘Beauty in the Bricks’, Nick says the success of ‘Folly’ wasn’t necessarily something they expected – it just happened. “It’s definitely a poppier sound,” he says, “But it’s not something we’re uncomfortable with. It’s still within the realm of Spit Syndicate, and people seem to dig it.”

“That’s the most important thing,that the fans are into it.”

Nick and partner-in-crime Jimmy Nice welcomed on board ARIA award winning, multi-platinum producer Stylaz Fuego in the creation of Sunday Gentlemen. Working with him was a big help, and greatly rewarding, says Nick. “It was excellent to work with him,” he says. “We were lucky to get in the studio, a year ago. Now he’s in incredibly high demand after getting an ARIA. Working with him was definitely helpful.”

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Sunday Gentlemen, set to be released on the 22nd of this month, is already surrounded by a significant amount of hype. A glance at the comment threads on the duo’s Youtube channel reveals fans from all over Australia – and much further afield – are on edge waiting for the album’s release. Their third long player, Sunday Gentlemen will be “much more forward” than their older work, says Nick. “It’s a more mature, stronger piece of work,” he says, “It’ll be different in that we’re really stepping things up.”

The duo unleash some deeply thoughtful, personal and slightly confronting stories throughout Sunday Gentlemen – albeit in a way that’s still uniquely upbeat and addictive. Nick says there’s a connection between the album and Irving Wallace’s work The Sunday Gentleman – something created solely on the writer’s days off, finally to be published after several years. It’s all about working at creative pursuits around the other demands of life – and doing it in a way that’s “lively and uninhibited”, Nick explains. “This relates not only to musicians, but actors, artists, anyone trying to make it in acreative profession.”

“We dedicate this album to anybody juggling their artistic pursuits with what must be done to stay afloat,” says Nick, “There’s a select few who’ll make a decent living from it. So it’s an open dedication to any of those people who feel as if they’re banging their head againsta wall.”

With SLAM (Save Life Australian Music) day approaching, Nick believes more could be done to support the Australian music scene. “The fans are willing to support [the musicians], but it’s when the councils start favouring developers over the live music scene – that’s when the venues start struggling. There should be more support from higher up.”

“Groups like FBI radio – a community radio in Sydney – have to work hard wit fundraisers. It shouldn’t be a fight, where they have to focus on just existing. There should be some structures in place. They’re really important to the music industry here.”

Sunday Gentlemen has been called their “most impressive work to date”, but they’ve had a mighty impressive list of guests featured on the album. Having collaborated with the likes of Drapht, Illy and Jackie Onassis was a tremendous experience, says Nick. “Drapht appearing on the album was really a highlight,” he says, “Because we really look up to him and he’s also a good mate. We’re really proud to have worked with him.” Nick says Jackie Onassis – aka Kai – is “A real one to watch, he’s got incredible talent.”

“The coolest part of creating this album was having the studio environment,” says Nick . “We were sharing the studio with Horrorshow, all these other artists, with all kinds of music being worked on. It was inspiring and motivating. It could be tense and stressful, but it was fun.”

Spit Syndicate have announced an extensive Australian tour, beginning late next month – but fans abroad are itching to get a live taste of their new music. Across social media sites, there has been an array of requests, but have these lads planned an international tour? In short, not just yet. “That’s not on the cards in terms of having planned anything,” says Nick , “It’s definitely something we want to do, but we want to release the album and see how it’s received in Australia first.”

“In New Zealand, it’s pretty cool. Even though they’re not that far away, their hip hop scene is so distant from ours. So it’s good to go there and have people really enjoy our music.”

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bobbyt u r n e r

YOU HAD A PRETTY MASSIVE SUMMER – GRACING THE STAGES AT FESTIVALS SUCH AS WOODFORD, EARTH FREQUENCY, FOLK RHYTHM & LIFE FESTIVAL. DO YOU FIND IT REWARDING TO PLAY SO MANY FESTIVALS? Very Rewarding! I love festivals. There’s something special about how they change you. It’s a different vibe at a festival to everyday life. People come through the gates, shed the shitty week they’ve had and enjoy themselves. I love being a part of that and especially grateful to share my music. IS THERE SOMETHING A BIT MAGICAL ABOUT HAVING THE OPPORTUNITY TO MINGLE WITH COUNTLESS OTHER MUSICIANS IN SUCH A SETTING? It can be both magical and a little daunting. It’s so inspiring to see and meet an array of different artists both famous and up & coming. I’ve met many of my closest friends at festivals. Some artists are just so amazing that it can make you question the worth of your own art. The beauty is that all us bands are at the festival to share our flavour. Sharing is caring.

YOUR NEW SINGLE ‘YOU KNOW’ IS THE FIRST TASTE OF NEW MATERIAL FROM YOU IN A WHILE. WERE YOU NERVOUS ABOUT ITS RELEASE, OR REALLY KEEN TO JUST GET IT OUT THERE? Not nervous at all. Just really itching to get it out there. I have been writing a lot over the years and it’s now time to get a fresh record to the masses especially now the band has performed a lot and sounding niceand tight. YOUR 2010 DEBUT HAS JUST PEAKED AT #2 IN THE ITUNES AUSTRALIA WORLD MUSIC CHARTS. WHAT WERE YOUR THOUGHTS WHEN YOU HEARD THIS? Completely surprised because I’m so focused on this new album and haven’t thought about the old at all. We’d just finished 4 amazing packed out shows at Woodford and to get that news was icing on the cake. It’s made me even more excited to get the new album out.

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HAS IT BEEN QUITE GRATIFYING TO SEE YOUR WORK SO THOROUGHLY EMBRACED? Very much so. Initially I was a little apprehensive because I was unsure of myself and ability to convey my songs live. After spending a lot of time behind the drum-kit it was extra daunting to take up my position at the front of the stage. The positive response to the music and our live shows lifted my nervousness and I feel so much more comfortable and at homeon stage. YOUR UPCOMING ALBUM TAKE IT SLOW MAY HAVE FELT LIKE A LONG WAIT FOR FANS WHO WERE HOOKED AFTER YOUR DEBUT. WE’VE ALREADY HAD THE FIRST TASTE, BUT OVERALL IS THERE ANYTHING NOTICEABLY DIFFERENT FROM YOUR PREVIOUS WORK? There’s no shaking that island flavour and the fundamental cruisiness of the first album - that’s the Bobby Alu sound. The first album was an introduction and in many ways an experiment. I played all the instruments myself and had no idea what it would become. ‘Take it Slow’ is an insight to the current chapter. I feel solid and confident in my writing and after some heavy touring and festival shows the band is playing well and connecting with the music. It’s a team effort and I’m very excited about it. I UNDERSTAND ‘YOU KNOW’ WAS WRITTEN WHILE YOU WERE TAKING SOME TIME TO RECONNECT WITH YOUR SAMOAN ROOTS. HOW WOULD YOU SAY SAMOAN CULTURE INFLUENCES YOUR MUSICAL PRACTICE?I love the fact that music is no ‘big deal’ there. It’s just a part of life. Song and dance are so deep within the culture that it beams out of everyone. I love that. It’s a life I lead and very proud of. Aspects of the culture really inspire me and my music. COULD THIS BE INTERPRETED AS A MESSAGE TO EVERYONE – FROM ALL CULTURES – TO MAINTAIN A CONNECTION WITH THEIR ROOTS? Yeah I definitely notice a yearning in all people to connect to a form of culture. Whether it be your bloodline, land or even just the routine of hanging with family and friends. Having that grounding is very

empowering indeed. I believe you can learn so much from your past and history ultimately moulding you as a better human being. WHILE IT’S FAIRLY UPBEAT, ‘YOU KNOW’ IS SAID TO BE ABOUT “ACCEPTING THE TRUTH AND NOT AVOIDING IT, NO MATTER THE DISCOMFORT.” DO MANY OF YOUR SONGS ADDRESS THE SORTS OF SUBJECTS PEOPLE TEND TO AVOID, THROUGH A DESIRE FOR WHAT’S EASY AND COMFORTABLE? Not all the time. A lot of my songs are words to myself. Maybe others have the same feelings. Having the strength, courage and persistence to break your demons I guess is something that not a lot of people like to share. FOR YOUR THIRD EVER GIG, YOU WERE INVITED TO PLAY ALONGSIDE BB KING AND BOB DYLAN AT THE 2011 BYRON BAY BLUES AND ROOTS FESTIVAL. DID YOU FEEL AS IF YOU WERE BEING THROWN IN THE DEEP END? Um.. shit yeah! My initial thought was… I’m not ready. But I guess you gotta fly with the punches. That show was great for the band, and being invited to return the following year meant that we must have done pretty well. I NOTICED YOU – OR SHALL I SAY CHARLES WALL – HAPPEN TO PLAY WITH PROGRESSIVE ROOTS/DANCE TRIO OKA. AFTER SEEING YOU AT LAST YEAR’S ISLAND VIBE FESTIVAL ON STRADBROKE ISLAND, IT’S SAFE TO SAY YOU COMMAND AN ENTHUSIASTIC AUDIENCE, UNDER ANY NAME. DO YOU FEEL AN ENGAGEMENT WITH THE AUDIENCE IS A BIG PART OF LIVE SHOWS? Yep, so important. I’ve really noticed over the years how I perform so much better when the crowd is vibing. There’s some sort of juju that empowers you to rise and project nothing but goodness. I feel so grateful to be able to perform to a responsive audience and i hope that they feel good in return.

HAS HEADING OFF IN YOUR OWN DIRECTION AS THE INDIVIDUAL BOBBY ALU AND SEEING YOUR MUSIC RECEIVE SO MUCH ADORATION BEEN AN INTEGRAL TIME IN YOUR MUSICAL CAREER?Yes, so so much. The last few years have been incredible. I feel I’ve

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really been able to grow as an artist and spread my reach as far as I dreamed long ago. It’s definitely an integral time because there’s many exciting things upon the horizon. It’s kind of like, buckle up, no idea what’s around the bend… but it’s sure to be an adventure. YOUR PACIFICALLY-INFLUENCED MUSIC IS DESCRIBED AS THERAPEUTIC. THIS IS DEFINITELY THE CASE FOR LISTENERS; IS IT THE SAME FOR YOU? I’ts therapeutic for me because it’s an outlet. It’s an opportunity for me to convey the things I’m feeling through beats and melody. To feel like I’ve given something is makes me feel good inside. Plus it’s fricken fun & satisfying playing music with my mates that people are dancing to. DOES THIS APPLY TO THE PROCESS OF CREATING YOUR MUSIC AS WELL AS PERFORMING IT? Yep. They are such differing domains - but equally as gratifying. Both can be hard work, both can be easy. It’s easier for me to put my feelings to song as opposed to confessing them in speech. I’m not sure why. It just is. At the moment it feels great to be writing, recording and performing with my mates. We’re just a bunch of peeps having a good time.

bobby alu’s ‘you know’ single tour

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THU Mar 14 - Mojos BarSupported by Nick Saxon (NSW)

237 Queen Victoria St, Nth Fremantle WA, 8pm

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FRI Mar 15 - Indi BarSupported by Nick Saxon (NSW)

Hastings Street, Scarborough WA, 8pm

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SAT Mar 16 - Settlers TavernSupported by Nick Saxon (NSW)

114 Bussell Highway Margaret River WA, 9.30pm Free

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SUN Mar 17 - Clancy’s Fish PubSupported by Nick Saxon (NSW)

1710 Caves Rd, Dunsborough WA, 4pm Free

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FRI Apr 5 - Nayri Niara FestivalBruny Island TAS

www.sustainabledreaming.org/nayriniara.html

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SUN Apr 14 - Brunswick Hotel4 Mullumbimbi Street, Brunswick Heads NSW

4pm-7pm, Free

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FRI Apr 19 -The Joyntw/ Leisure Bandits

48 Montague Rd West End QLD8.30pm $10

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SAT Apr 20 - Big Pineapple FestivalWoombye QLD

www.bigpineapplemusicfestival.com

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FRI Apr 26-SUN Apr 28 - Apollo Bay Music FestivalNelson St, Apollo Bay, VIC

www.apollobaymusicfestival.com

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Sat May 4 - Mandala Arts Café2558 Gold Coast Hwy, Mermaid Waters QLD

8.30pm $15

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Spotlight Interviews --------- with --------- BRISBANE BASED ------------------------

YoungDesigners------------------------S a ra P a r k i n s o n

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KRYSTLE GARDNER ABOUT: Denver Mackenzie offers one of a kind, limited edition handmade art on tee’s, singlets, hoodies, bags, jackets and recycled vintage skirts. Using recycled fabrics, buttons and embellishments, Krystle creates unusual handmade illustrated pieces. PERFECT EVENING: Hanging in the studio, listening to music and drawing my ideas onto paper.FAVOURITE ITEM IN MY WARDROBE: My opp shop Yves Saint Laurent black jean shorts! I snapped them up and took them back to the studio, cut them off to make denim shorts and embellished them with studs.

WHAT GAVE YOU THE MOTIVATION TO SET UP DENVER MACKENZIE AND ITS ILLUSTRATED TEE CONCEPT? From a very young age of 6 I loved designing and drawing, I drew at every chance I got. Denver Mackenzie was born when I received such a positive response from friends after sharing my very first tee design. After this I thought to myself, why not give it a go and see where it takes me? I haven’t looked back since.

ALL OF THE DENVER MACKENZIE DESIGNS ARE INDIVIDUALLY HANDMADE AND UNIQUE. WHERE DOES THE INSPIRATION FOR SO MANY DIVERSE ILLUSTRATIONS COME FROM?I guess my biggest inspiration comes from everyday life and love adventures, the depths of street style fashion and looking through collections of diverse artwork and pictures. Anything different that catches my eye inspires me to make a cup of tea, start doodling and being a new journey down a creative trail.

ON YOUR WEBSITE IT STATES THAT DENVER MACKENZIE IS “TO UNDERSTAND SOMETHING OBSCURE IS TO FEEL IT FROM WITHIN”. IS THIS THE BEST WAY TO DESCRIBEYOUR BRAND?Yes! For me, Denver Mackenzie is a handmade, illustrated fashion label, representing women’s self-expression. I believe my brand can be unique to each and every individual’s look and culture.

DENVER MACKENZIE CAN BE PURCHASED AT IN ANNIE’S POCKET BYRON BAY AND THE YOUNG DESIGNER MARKET IN BRISBANE. WHAT’S NEXT FOR YOU?I have been lucky enough to attend many young designer markets and festivals across QLD, NSW and WA. However, I would love to secure a handful of boutique style retailers across Australia. I would also love to introduce some new products to the current lines available. Right now I am working on producing a line of paper writing sets and hand painted skate decks...watch this space people!

FOR MORE ON KRYSTLE SEE:WWW.DENVERMACKENZIE.COM.AU

NEXT MARKETDATES ARE:

3rd March 20137th April 20135th May 2013

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IRENE POLLAK About: Wing & Water designs vintage clothes using eco fabrics to create unique garments for those who are willing to be adventurous. Favourite Month of the year: I love April as the weather is cooling down but I can still do all my favourite things like sailing and stand up paddle boarding.Favourite summers night: A picnic down on the esplanade watching the full moon come up and sail boats return home. I have to be with friends, family and of course bubbles, lots and lotsof bubbles!

WIND AND WATER HAS RECEIVED INTEREST FROM LOCAL AND NATIONAL MAGAZINE AND EVEN SOME CELEBRITIES. WHEN DID YOU FIRST FIND A LOVE FOR DESIGNING?I first began across the world in London. Here I found a little designer who I would work with to design clothes for myself. I always seemed to find someone who would make the clothes I was imagining. Then back in Australia after the birth of my son, I decided I was going to act on the idea of having my own clothing label. I am just finishing my final year at University in Online Communication, but in the beginning I taught myself how to design on the job.

AS A DESIGNER YOU LIKE TO BE DIFFERENT AND GO AGAINST THE GRAIN OF WHAT FASHION EXPECTS, SOURCING UNIQUE FABRICS AND PATTERNS. IS THERE A SPECIFIC DESIGNER THAT INSPIRED YOU TO DESIGN IN THIS WAY?Well, I love the underdog, the outsider, the person who doesn’t conform to the mainstream. I love going left when everyone is going right. I guess Vivienne Westward has really inspired me. She is so courageous and bold. I also admire Stella McCartney for her strong ethics behind her designs. I even find inspiration from artists like Leonardo DaVinci. He was intelligent, rebellious and confident to do his own thing. He was always chastised for not completing works and I was the same when I was a teenager. Closer to home, I admire the graffiti street artist, Brett Whitely, I have been photographing his work since I was about 16.

NOW, TELL ME A LITTLE INSIDE KNOWLEDGE ON HOW YOU GO ABOUT DEVELOPING A WIND ANDWATER GARMENT?Well I love being in touch with popular culture, I always get really excited when I see what people are doing online, socially and community wise. Then I got to my wardrobe, look at what I need in there and then design it. I only use natural fabrics so I am mindful of how the fabric falls in each design and this can heavily influence the outcome.

WIND AND WATER USES VINTAGE PATTERNS AS A BASE AND THEN TWEAKS THE DESIGN. IS THERE ANYTHING ELSE THAT MAKES YOUR PROCESS UNIQUE?Yes! Once a year I travel to Japan or Bangkok to source amazing natural fabrics. This prevents it being prolific in the local marketplace. I buy limited amount of each fabric and make only 14 pieces in each once, so there is a limited amount of product available. Travelling to source my fabrics is fun and inspiring as you meet people from all over the world looking for fabrics. All the production is done in Brisbane, between myself and another sewer so I can support the local economy.

DISCOVER MORE ABOUT WIND & WATER AT:WWW.WINDANDWATER.COM.AU

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ANNA HULM ABOUT: Anna Hulm creates inclusive colourful silk and satin dresses that are inspired by dance and represent a fusion of styleand comfort. FAVOURITE ITEM IN YOUR WARDROBE: My silk dresses of course! They are just so comfortable it’s like wearing nothing. I literally live in them.FAVOURITE PLACE TO VISIT: GoMA – I can literally spend hours in there and my daughter loves it too.

SO YOU GREW UP IN RUSSIA, STUDIED FASHION IN PARIS, WORKED IN LONDON AND LIVED IN BRISBANE. WHERE DID YOUR LOVE FOR DESIGNING REALLY BEGIN? My love for designing blossomed when I was really young in Russia. I used to make clothes for my dolls as a girl. Where I grew up, we were taught to sew and knit at a very young age. I guess this is where my passion was born!

YOUR CLOTHES ARE BRIGHT, ELEGANT AND COOL TO WEAR. SOMETHING YOUR CUSTOMERS CAN DANCE, BREATHE, EAT AND LIVE IN. DOES A SPECIFIC DESIGNER INSPIRE YOU TO CREATE SUCH WONDERFUL GARMENTS?Yes, the Russian abstract Artist Kandinsky. He was devoted to inner beauty, the fervor of spirit and spiritual desire of inner necessity. He painted abstract concepts like music. I also loved the fact that he was not scared to break the rules.

YOUR WORK SEEMS TO APPEAL TO A WIDE AUDIENCE. CAN YOU TELL ME A LITTLE MORE ABOUT HOW YOU DEVELOP YOUR DESIGNS?I always start with the fabric, Satin or Silk, and then play with colour schemes. I aim to make sure I have the right mix of colours so that there is something for everyone – from a teenager looking for a prom dress to an elderly lady wanting something cool to wear around the house. I begin designing with the customer in mind. Sometimes customers give me ideas about the fit and variations of the designs. I try to listen. After all, they will be the ones wearing my dress.

WHAT’S NEXT FOR ANNA HULM AND HER SILK ANDSATIN GARMENTS?So far I have made more than 5000 dresses and recently launched a wholesale side to my business. I plan to keep developing this side of my label, hopefully gaining enough momentum to open a studio/boutique shop. This will be somewhere that allows me to involve my customers in the design process a little bit more. After all, I find it rewarding when I see my dresses being worn. It feels like I am making this planet a little brighter in my own way.

SEE MORE FORM ANNA AT:WWW.ANNAHULM.COM

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ASHLEY KONTIS ABOUT: Uncle Phuncle is unique clothing for two players: (1) Uncle Phuncle produces hand screen-printed cartoon garments and, (2) Lady Phuncle provides vintage inspired clothing toretro-minded girls.PERFECT EVENING: Erm…well I’m a bit of a hermit. So probably snuggled up on the couch watching trashy reality TV with chocolateFAVOURITE ITEM IN YOUR WARDROBE: I don’t have a specific item but I have a favourite draw, Knitwear. You can never have too much knitwear in my opinion. I love my cardigans with beaded details and special buttons. I also have too much sleepwear for one person. In fact, you could say it was a suspicious amount of PJ’s!FAVOURITE MONTH OF THE YEAR: August! I can wear all of my cardings and sweatersFAVOURITE PLACE TO VISIT: The kitchen pantry. This is where the chocolate lives

UNCLE PHUNCLE STARTED OUT PRIMARILY AS A T-SHIRT LABEL FEATURING CARTOONS. RECENTLY YOU HAVE ADDED LADY PHUNCLE VINTAGE WEAR TOO. WHERE WERE THE SEEDS SOWN FOR THIS KIND OF DESIGNING? Over the years I got frustrated with not being able to find pieces that I wanted in my wardrobe. Fad trends from mainstream shops just weren’t inspiring me. So instead of giving into them, I began designing and sewing my own clothes. Uncle Phuncle really began when I stumbled across these visual diaries that my boyfriend (now fiancé) had. They were filled to the brim with crazy cartoons and I fell in love with them. I had an urge to share them with the world!

WHEN DESIGNING YOUR GARMENTS, WHERE DO YOU LOOK AND GRAB INSPIRATION FORM? I’m an inspired by a lot of different creative mediums. One minute I find inspiration from music, the next vintage fashion and then the next from illustrations. At the moment I love the 1960s era as a whole! Here I can find inspiration from a song lyric, album, or even by imagining the wardrobe departments from a classical movie. Another favourite of mine at the moment it to look through vintage pattern books that belonged to my grandmother. Then, once I have a creative mind map I begin with rough sketches and put my designs through a trial and error process until I am happy.

IN A FEW SHORTS SENTENCES HOW WOULD YOU BEST DESCRIBE UNCLE PHUNCLE?For us, I feel like Uncle Phuncle and Lady Phuncle reflects the relationship of its founders (myself and my fiancé). They’re very different but complement each other. There’s somethingfor everyone!

SO FAR YOU HAVE PARTICIPATED IN LOCAL RUNWAY SHOWS, PHOTO SHOOTS AND ATTENDED THE YOUNG DESIGNER MARKET. WHERE DO YOU PLAN TO TAKE UNCLE AND LADY PHUNCLE FROM HERE?Right now we’re working on a bit of a re-brand, which is very exciting for us. We’re developing a new Lady Phuncle album to be realised soon and there is a new cartoon release on the horizon. This time we’re releasing shirts in fantastic red with black print. Long term, we are hoping to make the brand a bit more personable and transparent. We’ll be starting an Uncle Phuncle blog giving people an insight into our workspace and a bit of behind the scene fun.

STAY TUNED WITH UNCLE PHUNCLE AT:WWW.UNCLEPHUNCLE.COM

raw ink magazine – march 2013

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