+ JEREMY SCOTT

+ OWEN LEONG

+ SCOTT EADY

+ LOUISE WEAVER

+ SAMUEL HODGE

+ FIONA MACKAY

+ TILLY AND THE WALL

+ WORRY DOLL

“It wasn’t until I was backstage after the show, that I realised how strong the cult-like following for Jeremy Scott was...”

REVIEW by Rene Kininmonth

Nomadic designer Jeremy Scott, originally from LA, decided after testing the waters at various fashion weeks that it was time to start showing in Paris again. Being his first show in the city of love for a few years, fashion kids from all over were pumping up their Air Jordans and donning their trackies for a piece of the Jeremy action.

Inspired by popular culture, Scott’s designs belong to a cult of kitsch/ironic pop designers such as Belgian Walter Van Beirendonck, German-born Paris-based designer Bernhard Willhelm, UK based Cassette Playa, and close friends (and collaborators) Ksubi. Instantly recognised as his own, the mix of child-like cartoon prints, parodies of branding incorporated into graphics, and knitted designs are a usual formula for his collections.

Taking this brief visualisation of Jeremy’s work into mind, the venue for the February 27 show was surprisingly…um…Parisian. The Napoleon ballroom of the Hotel Westin (once the same venue many years ago for Yves Saint Laurent Couture shows, I’m told) seemed at first a little too royal for a pop label, but actually turned out to be a nice contrast to the colour and music choices of the collection.

Rows of palatial chairs fit for royalty neatly lined the catwalk, much like any chic Fashion Week show. Of course, being establishment-stirring Jeremy Scott, jukebox graphic printed cushions sponsored by Adidas were placed on each seat. Bourgeois infected with youth culture. Nice work.

This collection, Scott had created a malt-shop, fifties rock n’ roll themed collection with floppy knitted records as skirts and boleros, skin-tight knitted dresses with body-length guitar motifs, musical note repeat prints on jersey dresses and long T-shirts, Teddy-boy flamed leggings, dance-step instruction prints on sweaters, pink poodles on purple planet prints, and the piece de resistance: a PVC strapless dress made to look like a pink corvette, with flashing taillights of course, worn by pixy-like English model Agyness. If the mental list in my head of future purchases from this collection were food, it would feed a starving family for a year.

The hair and make-up was a masterpiece in itself- huge towering beehive-dos forming a cone about 2 feet high (how the hairstylists managed to do all fourteen girls in a few hours I will never know), super high pumps, and vintage sunglasses by Linda Farrow managed to make us mere non-supermodel mortals feel positively ant-like next to these girls. The music was fast and punchy, with remixes of fifties classics like Big Girls Don’t Cry and a cute version of The Beatles Baby you can drive my car (nicely in-sync with Agyness wearing the pink Corvette dress). I was told earlier that day that the Jeremy Scott show was one of the most anticipated catwalk shows of the week, and after a ruthless check-in of turning away a couple of hundred “people who knew people”, the energy around the catwalk before the lights went up was electric.

It wasn’t until I was backstage after the show, that I realised how strong the cult-like following for Jeremy Scott was- apart from the usual backstage Fashion Week prowlers, neon-coloured-Nike-wearing fashion kids were lurking around every corner!

‘Happy Daze’ actually has a lot of wearability; the prints are strong and look shit-hot with neon Ksubi jeans and a scruffy pair of sneakers or boots. Jeremy himself wears his own pieces, which is inspiring to see a designer who has faith in the collections he makes, and also refreshing to see someone wearing bright colours or bold graphics in Paris. ‘The Jeremy Show’ was the absolute highlight of Fashion Week; my credit card is pulsating in my pocket waiting for this collection to hit the stores.

IMAGES courtesy and © the artist

“Art is an addiction. Art feels like taking a big dark trip inside yourself to find some of the most amazing things there.”

INTERVIEW by Jason Lingard

1. Where are you from?
I’m a Sydney boy, with my heart and one foot in Melbourne.

2. How did you end up being an artist? Is it always what you wanted to do?
Being creative has always been a part of my life. Art was something I always knew I would do professionally. I began in printmaking and my work evolved into sculpture, photography, installation and performance video. Art is an addiction. Art feels like taking a big dark trip inside yourself to find some of the most amazing things there. You spend the rest of the journey running back to the outside world with these things cupped in your hands.

3. A lot of your work explores race. How do you feel your Asian heritage influences your work?
I’m intensely interested in race studies and queer identities. In my work I often visualise part of my Asian identity as honey that appears to bleed from my skin, or which is dripped, pushed and pulled into my body. My work is also about visualising the racial position of Whiteness. In recent videos, Whiteness manifests itself as light, white noise, and milk that surrounds or penetrates my body. Sometimes the works are about emptying the self of all these things.

4. How would you describe your work in one sentence?
Desire, darkness, wounding, liquid bodies, voids and vacuums.

5. What ideas and concepts have you explored with your most recent work?
My most recent works explore desire, longing, time and memory. Last year I traveled to the UK for a three-month artist residency in Manchester. So far from home, family, friends, and lover, I produced Ghost Heart. Swollen to five times the size of a human heart and made of translucent aluminium mesh, Ghost Heart hovered in the darkened space suspended by hundreds of red threads. Bleeding in reverse, the heart also cast two shadows. This was accompanied by a sprawling organic installation using felt cut-outs, painkillers, and a black helium balloon tethered to a taxidermy fawn.

6. How is the physical approach you take to your work linked to the conceptual approach?
In my performance works, my body appears imprisoned, held in trance, or locked into loops of behaviour. Honey and milk are absorbed, ingested, or expelled. These works involve an exchange of fluids and the transmission of power across the surface of the body. I use liquids because I am interested in the ways in which the racialised body is framed physically, socially and culturally – these forces are fluid and in conflict, rather than static or constant.

7. What are you working on now / next?
I’m currently shooting a new collaborative video project called Entanglement, which will be showing at Westspace in Melbourne in June. Also that month, two of my videos works will also be part of Asian Attitude, a major international exhibition touring to Poland and Shenzhen, China. And I am about to start on a new series of work for a major solo show at Ryan Renshaw in July. The exhibition includes a collection of recent photographs and videos, but I am working on some new drawings too. I’m excited as it will be my first solo show in Brisbane.

click images to enlarge

1. Dickkopf, 2006.
Found skeleton and macrocarpa wood
1800 x 3000 x 1500 mm
2. Dickkopf, 2006. Installation view.
Found skeleton and macrocarpa wood
1800 x 3000 x 1500 mm
3. Boy, 2006.
Fiber glass, acrylic and fabric
510 x 700 x 400mm

IMAGES courtesy and © the artist

“With advanced development of genetic engineering there are, to the contemporary viewer, arguably images of life that are more disturbing than death.”

WORDS by Anna Jackson

Ghoulish Grim reapers and hooded horsemen of the Apocalypse have haunted viewers since the Middle ages and the skeleton has long been an icon of our mortality. But with advanced development of genetic engineering there are, to the contemporary viewer, arguably images of life that are more disturbing than death. Scott Eady's recent creation Dickkopf, shown at Roger Williams Contemporary in Auckland, adds a new spin on mortality as we know it.

Dickkopf is a hybrid creature composed of five male figures and the exhibition narrates its life and adventures. Dickkopf, the character, borrows its title from the name of a protein enzyme wnt-dickkopf which has significant functions in the control and cell fate is thought to be responsible for human deformations.

While a skeletal version of the creature itself dominated the exhibition space, bronze and fiber glass sculptures allegorically interpret its life and functions as Dickkopf is shown engaging in a variety of seemingly usual activities. In a series of bronze sculptures Dickkopf takes on other characters in warfare and in another a child plays with a Barbie-Ken-cum-G.I.Joe version Dickkopf.

As its namesake implies Dickkopf may be a result of abnormal gene formation, yet the creature has a seemingly normal existence. The child does not seem to acknowledge its abnormalities and continues to play with Dickkopf as he would any other toy – a poignant portent to the impact of genetic modification on future generations.

The largest work of this series is Dickkopf the skeleton. Five plastic skeletons (rumored to be cast from real human bones) are medical grade and as lifelike as they come. Each skeleton is connected to the next and together they make the formation reminiscent of a defiant rugby team set to engage in a scrum. Their configuration makes eerie reference to an new trend of obsession with genetic perfection. The skeletal Dickkopf is most certainly dead, yet through its genetic deformation, able to tackle immortal life.

click images to enlarge

1. Static (digital age)
2. Black Cherry (unique state)
3. Sweeper (Racoon)
3. It would seem that eyes can live without hearts
(Oracle fox)

IMAGES courtesy Darren Knight Gallery
and © the artist

“A work created by an unknown person centuries ago can inspire and have as much resonance for me as a contemporary work.”

INTERVIEW by Ella Mudie

1. You began as a painter. How did the shift to sculpture happen and in particular, what attracted you to the craft of crochet?
I studied painting at RMIT University in 1986-1988 and completed my Masters there in 1996. As an undergraduate I created paintings that were predominantly based on objects both real and invented. It was a natural progression as my ideas developed to create 3D forms as well as 2D works.
The first sculpture I created using crochet to cover an object was in 1994. The work was titled I am transforming an antler into a piece of coral by crocheting over its entire surface. I was interested in exploring nature’s way of working rather than its appearance: through re-growth, decay, metamorphosis, and transformation. Crochet as a process was selected to convey this idea.

2. When and how did you start incorporating taxidermy into your work?
I first used taxidermy in a work in 1994. It was a finch, and the work was titled (Purple heart) The bird that wanted to wear women’s shoes to hear the sound they made when he walked.

3. Your detailed explanations of the materials you use are like poems. Why is it important to deconstruct the elements of your sculptures and installations?
The titles, explanations of materials, processes and descriptions of works are all interlinked and important in expressing the ideas bound up in the work.
I enjoy the poetic relationships that emerge from placing a title with a visual image/object. Something that may be allusive or slightly intangible that suggests an idea that is beyond both singular elements (visual/language).

4. How do images from previous centuries inform your work? Any favourites at the moment?
I adore art history and have many favourite images. I also love researching the arts and crafts of non-Western cultures throughout history. A work (which may be a functional object) created by an unknown person centuries ago can inspire and have as much resonance for me as a contemporary work.

5. What colours are you working with right now, and why?
Colour is a very subjective thing. My favourite colours change constantly. I use colour to convey ideas.

6. How does your current works on paper series continue on from your sculptures and installations?
I have always made many works on paper. I find that this is the most direct way for me to work through ideas. I make drawings that are sketches and notations; works on paper that develop ideas for other sculptural and installation-based works and extended works on paper that are works in themselves.

Louise Weaver, Works on Paper, Darren Knight Gallery 22 May – 16 June 2007

click images to enlarge

IMAGES courtesy and © the artist

“When I shoot, I shoot when I want to. Sometimes months go by with out even picking up my camera.”

INTERVIEW by Jason Lingard

1. Where are you from?
I grew up in a small country town in northern New South Wales, Australia. Small farm, very beautiful, fresh air, very scary people. The usual deal with small country towns- you love and hate it at the same time. When I look back now I couldn't have wished for a more dysfunctional up-bringing.

2. How did you get into photography?
I was working on a film and had to take video stills while editing the it. I then realised there was something I preferred about the still image.
 
3. What do you love the most about being a photographer?
The control I have. Experimenting. Editing. Exhibiting. All those really lame things that you always hear from photographers... like 'capturing a moment'. It's cliched but true.

...then what do you hate the most?
Being asked to photograph when I don't want to. Such as being asked to photograph weddings and events, in an official capacity. I would rather kill myself. When I shoot, I shoot when I want to. Sometimes months go by with out even picking up my camera.

4. How would you describe your photos / subject matter?
Hmmmm.... well it's just very simple. I'm not trying to prove anything. My photos are as they are. There is 10 years worth of work behind me that I'm starting to show now and it documents my life. Nothing unique stylistically, except that it's all my own. I really don't like to try too hard. Some people describe my work as gay or sexual and they try to box me into categories such as the "gay photographer" which I take great offence to because even though I am a gay I've never really related them. I don't see myself or my work as different to any straight artist. That kind of narrow-minded view really confuses me.
 
5. What would your dream project be?
To be able to have enough space and money to exhibit all the images from the past 10 years at once. The images all make more sense to me when they are all together. What's that saying? "The sum is greater than the parts"

click images to enlarge

IMAGES courtesy and © the artist

“...the photographer needs to be communicating with the subject, and vice versa.
A photograph needs to say what it means without the assistance of words.”

INTERVIEW by Jason Lingard

1. Where are you from?
Melbourne, Australia.

2. You're a recent photography graduate, how did your enjoy your studies?
Enjoy is probably not the best word to describe it. University is more about survival than anything. It was good though. I was taught a lot, especially how to light. I knew nothing technical getting into this course. I was a point and click kind of girl.

3. What's something you've learnt that they never taught you at school?
How to really see.

4. What's your idea of a good photo?
That's a tough one. Can be so many factors, yet so simple at the same time. Depends on what your subject matter is but I think it all comes down to communication. In portraiture for instance, the photographer needs to be communicating with the subject, and vice versa. This contact needs to be conveyed also to the objective perspective of who's viewing the photograph. The photograph needs to say what it means without the assistance of words.

5. Who would you most love to have sit for a portrait?
I just finished a biography on Marlon Brando, so at the moment I'd say him. 1950's Brando. Such an intriguing, complex guy. I would love to capture this man, who has a face of a poet and who evokes this sexuality and passion, yet vulnerability at the same time.

6. What do you love the most?
Being able to capture ideas that endlessly swim around in my head. If it doesn't work out I try again or just move on to a next project. Exploring the world through my eyes. Capturing what I see with or without a camera. I guess photography is the one thing that I get any sort of satisfaction from. It keeps me going.

...and what do you hate the most about being a photographer?
There are too many of us!

INTERVIEW by Karlee Slater

Hailing from Omaha, USA, pop sensations Tilly and the Wall have slowly grown into a force to be reckoned with. I spoke to Nick White (Keyboards) about performing, band democracy and pop perfection.

1. How did the band form and what was the motivation to start performing?
Derek and I moved to Omaha in 2001 and met the three girls. Each of us had been in a band with another member of Tilly beforehand (Derek and myself, Jamie and Neely, Jamie and Kianna), and we all wanted to play again with friends. For a long time, we never considered shows or albums or anything, but we ended up having however many songs and
decided we might as well do an open mic night. (hahaha.) Which led to a real show etc. . .

2. What inspires you as a group? Is there a mix of influences (musical or otherwise), or does one main theme feed your music?
Each person in the band has many personal influences of course, but it seems there are themes that touch us all, especially ones of unity, community, and individualism within community.

3. I read a press release that said you create “alluring pop songs, intertwining boy/girl harmonies and speaking with a voice that is at once heart-breaking and joyous.” How would you describe your sound to someone who’d never heard you before?
Genres are tricky, but as far as adjectives go, we usually say rowdy, folky, and poppy, with a dose of punk rock. And then there are a few ballads. I like that press release though - it's sweet.

4. Is there a sense of democracy within the band, or do you have a designated leader?
So much so a democracy that sometimes it’s hard to get things accomplished. One of my favorite aspects of this band is that when someone is feeling a little slow, another person will pick up the
slack (whether its writing a few more songs or giving a little more onstage).

5. You signed with Conor Oberst’s (Bright Eyes) label in the States, what prompted that decision, and how is he like to work with?
Well, for starters, it was our only offer! We couldn't be luckier though, and the ideals the label promotes (music for everyone, etc.) are important to us as well. Conor really helped us through our first recording, and continues to be supportive. Also, Nate Krenkel, who runs the NY office, has been wonderful too, giving us so much of his time and help.

6. You’ve toured extensively of late, where has been your favorite venue/show and why?
So many fun shows, but playing the art museum in Iceland was a treat we'll always cherish. It really marked a line for us, surpassing all we had ever hoped for the band.

7. You’ve played with bands like Bright Eyes, Rilo Kiley and The Go! Team. Who would you like to work with in future?
Of course those bands are fantastic. Sometimes we think of Rilo Kiley and Bright Eyes as our big sister/brother bands that have shown us so much, they make great music. We just want to work with bands with as strong a spirit as those.

8. Finally, what makes a perfect pop song?
Um… a cauldron full of vulnerability, confidence, and hooks.

REVIEW by Ella Mudie

If you think that whatever you are worrying over right now is a big deal, it’s a pretty safe bet it’s nothing compared to what the characters of Matt Coyle’s latest graphic novel, Worry Doll, are wringing their hands over.

Having fallen out of the safe abode of their suitcase only to stumble over the murdered corpses of their host family in the living room, the worry dolls are gripped by the classic neurotic urge to flee the scene. So they embark on a road trip, no small feat for the vertically challenged, which plummets the dolls, and the reader, into a fantastically noir dreamscape of driving hell.

As the dolls set out, the nerves set in. In one illustration a rigidly posed doll vomits a miniature waterfall by the side of the road, while in another, a phallic nosed doll forlornly visualizes the inevitable road kill of the trip. Coyle’s illustrations, painstakingly executed in the unforgiving medium of black felt tip pen, are almost photographic in the extent of their realism. But don’t be fooled, they are one hundred percent hand drawn, and the book took Coyle a lengthy six years to complete. The sustained effort paid off, as the visual sophistication of Worry Doll has seen critics hype it as a new way forward for the genre.

But what would the worry dolls make of all this praise? Well, first they’d want to know who said it, and why, and did someone pay them and…hang on. Right, now you’re just being paranoid. Definitely got a problem. But as Kurt Cobain so rightly proclaimed; “just because you’re paranoid, doesn’t mean they’re not after you.”

To preview the first 15 pages click here

Worry Doll by Matt Coyle is out now through Mam Tor Publishing