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JOIN THE TEAM: IF YOU WOULD LIKE TO JOIN THE TEAM THE AVAILABLE SPOTS ARE: - 2nd Editor - Illustrator/Graphic Designer - Music Editor

SUBMISSIONS: If you are a creative within the fields of: art (any medium), design & illustration, photography, poems/creative writing, modeling/styling, fashion designing/blogging, singing, songwriting, producing and everything else in-between we want to know about you and would love you to submit work for the next themed issue.










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Issue #2 - Digital 01/09/2013 © Hanker Magazine 2013


WELCOME… BACK? Welcome to the second issue of Hanker Magazine. Welcome to those of you who are new here and thank you to those of you who have returned from issue #1. How do I begin to describe the last 3 months since the first issue was released. I think the easiest way is with an overused cliché; it has been a ‘roller-coaster ride’. There’s been highs but there have also been lows. Receiving such a great response to the first issue definitely outweighed the lows. The first issue of Hanker Magazine was simply testing the water. I wanted to see if people really wanted Hanker Magazine and if there was a need for it. Much to my delight I was astonished at how many people read and are continually reading the first issue on a day-to-day basis. If you have returned from the first issue hoping that it will be similar to the last then you’re in for a treat. If you are new to Hanker Magazine then be prepared to view some amazing works by fabulous creatives. I also suggest that you visit the first issue and be amazed by the creatives that are featured within it as well. Issue #2 explores the theme of ‘Digital’ with an unintentional side theme of ‘space’. Featured works fit a criteria that I feel relate to the theme and possibly pushed certain boundaries. It has taken almost right up until the date of release to find exactly what I was looking for and the quality of work you should expect to see in Hanker Magazine.


In this issue; we welcome 2 new members of the Hanker Magazine Team, Celeste Abrahams and Iris Lo, we feature 2 fantastic male photographers, Stephen Criscolo and Brendon Burton, a digital inspired story by Kaya Ra Edwards, a ‘pattern-art’ body of work by Eve Byers, collage art by Steven Quinn, an opinion piece on fashion in the digital world by our new fashion editor, Iris Lo and an interview with Toby and Pete, the creators of Australian DJ/Producer, Flume’s ‘Infinity Prism’ light show. Also as of this issue, Hanker Magazine is now available in print and digital download. Go to for details. As always thank you to everyone that contributed to the creation of this issue and thank you to everybody reading and viewing this magazine. I hope you enjoy the contents within this issue and I encourage you to go and check out everybody that is featured.

Dillon McIntosh Founding Editor Cover Image: Brendon Burton


CELESTE ABRAHAMS HANKER MAGAZINE PHOTOGRAPHER Introduce yourself to the readers… I’m Celeste, I’m a 16 year old photographer working and living in London and I’m the newest addition to the Hanker team. When I’m not taking photos I’m probably at school, I also enjoy drawing and running in my free time. What made you apply for the photographers position? I thought it would be a great way to get involved in the world of photography and have a chance to work and find the work of new, inspiring photographers. When did you first start doing photography? I started just under two years ago now with my first DSLR, but I’ve been interested in photography for as long as I can remember. What style or genre do you favour?

Do you see yourself being involved in photography after school? I would love to continue with photography for the rest of my life and hopefully after school it will become an even bigger part of my life What’s the first thing that comes to mind when you think of Hanker Magazine? Incredible art and writing. You can view Celeste’s photography at: celesteabrahamsphotography And a few of her works in the community submissions section.

My favourite style is portrait and fashion photography but I’ve started trying out more conceptual photography. Who or what inspires you? Pretty much everything around me! I always buy a bulk load of magazines a month and all the editorials and adverts in there give me inspiration. Photographers like Nirrimi and Julia Trotti also inspire me.




HANKER MAGAZINE FASHION EDITOR Introduce yourself to the Hanker Magazine readers... I’m Iris, 16 year old with too many opinions and questions of the world. Your normal high school-er with no exceptional talent besides being able to sleep whenever and wherever. My roots are from Hong Kong but I was born in a stark white hospital somewhere in Sydney. I’m a huge vintage lover, I collect old vintage film cameras, vinyl’s of 70’s rock and anything that I like and can be played on my record player and most definitely avid lover of vintage fashion. First and foremost I am a hoarder, I can’t part with my clothes or shoes or anything in general, and I have way too much of everything and since I was very young I loved shoes! As a young child I often questioned whether I was adopted and wished that I could go to Hogwarts, nowadays I wish I was born in the late 50’s so that I could have lived through the 70’s and had gone to Woodstock. What made you apply for the fashion editorial position? It was quite a spontaneous decision, I had come across the ad and decided that this was something I wanted to try. I’ve always enjoyed blogging as I run my own blog but writing for a magazine meant working with a team which I wanted to do. As a teenager, I believe in


giving everything a go if the opportunity arises and see where it takes you and often you are surprised. Fashion has always been one of my biggest passions amongst many things and has been an integral part of my life. When did you first start getting in fashion? I believe the interest in fashion was planted in many from when I was a baby, my mother always used to dress me in the cutest and trendiest clothes and she took pride in what I wore. My godmother worked at GAP and then eventually at NEXT which meant that from a young age I was already exposed to pretty clothes. I remember very clearly that even when I was 5 I used to want to dress up like my mum so I would toddle around in her heels and try on her clothes. My biggest fashion influence has always been my mother and she nurtured my interest in fashion from an impressionable stage and it has developed on its own over time. Do you see yourself being involved in the fashion industry after school? Fashion will always be an integral part of my life but as the moment stands, I’m still not too sure of what I will go into after high school. Perhaps a law degree, or a journalism degree? Ask me in a year I’ll be able to give you a better answer. Hopefully.

I see your a fan of photography as well, tell us about that.. I’m a huge film photography junkie. I shoot in film on either a 35mm film camera or a medium format. The process with film fascinates me and I love being able to develop and print my own photos. To me its like magic and it fascinates me. My oldest camera that I own is from the 1940s an Italian Rectaflex the first of the SLR’s. I started off with a Holga 135BC at the age of 13 and my obsession grew from there. “Sometimes there’s so much beauty in the world I feel like I can’t take it, like my heart’s going to cave in.” - American Beauty I want to document and find the beauty in life. Really hope to one day own a large format and be able to experiment with that. What’s the first thing that comes to mind when you think of Hanker Magazine? Hanker Magazine is a new and exciting upcoming magazine that brings creatives together from all reaches of the world to create something beautiful and uniquely theirs. You can view Iris’ blog at:



// USA







STEPHEN CRISCOLO INTERVIEW BY CELESTE ABRAHAMS When did you first start getting into photography? Almost 4 years ago I got a Canon Rebel Xsi as a Christmas gift, and I took that thing everywhere. I was the kid who took pictures of everything. School football games, hangouts with friends, even family reunions. How do you think your work has evolved and where do you see it going? I started a 365 project two years ago and before that I have never experimented with art at all. At the start I was more of a conceptual artist in the same vein as Alex Stoddard and Kyle Thompson. They were very big inspirations at the time, but there are an awful lot of kids on flickr doing 365s in the woods like they were. I decided to branch off by expanding my skills in Photoshop. I want to push my Sci-fi style to the limit as that is one of my favorite types of photography. I see myself being very ingrained in Sci-fi conceptualism in the years to come. Do you think that being in the digital age with websites such as Flickr and Facebook and applications such as Photoshop have helped you as a photographer? Photoshop is probably the only reason I’m doing this. It makes me as a photographer. I create almost all of my scenes through liberal application of Photoshop, so that the image will look surreal and fantastic but still somewhat realistic. I think editing photos is


a blast. Using Photoshop is like playing a video game to me. I enjoy creating these wondrous scenes and that wouldn’t be possible without Photoshop. Flickr has connected me with so many like minded individuals and given me people to bounce ideas with. I’m really glad I’m growing up in the digital age because I can tell it has a huge (positive) effect on my overall style. What influences your photography the most? The future and horror. Those are my two favorite inspirations. I think horror photography gets me because I’ve always had a secret love for the macabre. Horror photos are very striking, they unsettle the viewer and make them think or question what is happening in the scene. Everyone gets scared so I think horror photography is very relatable. My biggest influence is the future. The future is entirely unwritten and thus makes a perfect area for artistic expression. Any futuristic robot or planetscape I make could very well be real or plausible in the near future because no one knows what is coming next. A surreal fantasy trip into the mind of a futuristic dreamer. You can view more of Stephen’s work at: // // //





// USA






BRENDON BURTON INTERVIEW BY DILLON MCINTOSH Tell us a little bit about yourself; how old are you and where are you from? I am 19 years old and I come from the town of Myrtle Creek, Oregon. When did photography start for you? I started taking photos seriously around the age of 17, in October of 2011. I had always been interested in art and I think I finally just found my passion when I picked up a camera. Who/what inspires you and your works? I am inspired by music, literature, old horror movies, urban legends, ghost stories, and a lot of other photographers like Tim Walker and Tommy Nease. Has your photography style changed since you first started or have your just improved? I think my style was always apparent in some ways, I just learned to channel my ideas more fluently. In your opinion what makes a good photograph? A good photograph starts a thought process in the viewer’s mind. There are plenty of beautiful photos, but it is rare to find one that makes the viewer feel something or intrigues them.


Do your works portray any messages? I would like to think so, even though some of it is just visuals for the sake of visuals. A lot of my work is paranormal in some ways, something about the image is just slightly off. I like to make erie images. What camera and if any accessories do you use? I shoot with a Canon 5D Mark II with a 50mm f/1.4 lens. For my film work I shoot with a Hasselblad 500C. Do you have any advice for someone who is looking at starting photography? I would recommend shooting as often as possible. Create as much as you can, you will improve quickly with practice. Start a 365 like I did or another type of project that forces you to get out there and make something. Where do you see yourself and your photography in five years? I would really love to work in fashion or editorial. Perhaps for a publication or even become a director of photography for films. Being 19, I still have a lot of options. You can find more of Brendon’s work at: // // BrendonBurtonPhotography // //





Works are unrelated to the issue theme.























MAKERS BY KAYA RA EDWARDS Lillian lay in her bed, eyes still heavy with rest, and flicked through her facebook newsfeed on her phone. She held the thing up under a stream of a strong sunlight that sliced through the gap between the curtains to light up millions of specks of dust that swam through the air. Her phone’s small screen showed a series of photos from a party she wasn’t invited to and then a picture of her thirteen-year-old brother standing next to a body board and grinning awkwardly. It was a birthday present, one he would probably use twice and then leave in the cupboard. Lillian noticed how he had grown even since the last picture she saw of him only a few weeks ago. This photo was one their mum had uploaded. Looking at the time, Lillian knew she had to leave to meet her father, but called her mum anyway. She decided not to tell her that today she was meeting up with the man she hadn’t seen in three years and who her mum hadn’t spoken to in ten. The ringing stopped and before her mum spoke, Lillian from her own small and muted bedroom listened to the background noises of her brother’s voice and the dishwasher, crackling through to her from the house states away that held all of the people she loved most. “Ma?” The dog barked and Lillian could hear her mum calling out to it to be quiet. “Lillian, sweetie! I’m sorry, things are a bit crazy over here this morning. I’ll call you later?


“Okay. Love you, ma.”

“Bye, bye!”

She hung up and Lillian let the quiet around her sing high in her ears while she looked at her mum’s facebook pictures on her phone. She felt the strangeness of seeing a face so loved and so familiar in settings Lillian no longer visited or knew. Seeing the time glow green in the screen corner once again, she jumped up and dressed and was through the door, dragging her fingers through her sleepy hair, in seconds. As she walked to where she said she’d meet her father, she thought of how she didn’t have him on facebook; how odd it was to be able to only conjure an image of him three years younger, to have no knowledge of how he spent the time of the last three years. She knew intimate details about acquaintances; their faces, their jobs, their hobbies. But not about him. He stood at the edge of the suburb’s main strip, looking up into a flowering jacaranda across the road when she arrived. “I’m so sorry. I slept through my alarm.” “Your alarm? It’s 11am.” He smiled broadly and she smiled back quickly, her face hot. She pushed her limp hair behind her ears and wondered at the thick greying curls that fell around the face of her father before her. “Maybe we can grab a drink?” She suggested, her voice sweet and supplicatory.

She was tall, only just in her twenties now, but not as tall as him, and she followed the path he cut across the road in his shadow. In the café, he ordered his drink, carrot-gingercelery-apple, and she ordered a juice too. She fumbled with her wallet while he payed – she couldn’t remember if he expected her to buy her own drink or not. “Shall we sit outside?” He was already walking to a bench facing the street, then lifting his wide body onto the high stool.

“It’s been a while.”

Yes it has, Lillian thought, it’s been a long while. She wondered what to ask, how to encompass years of silence between them in a question he would think worldly and intelligent. She wondered how to tell him about the many homes she had made in the past three years and enquire about all of his. “How long are you around for? You and Gail?” “Just a few weeks. We wanted some sun, a bit of warmth.” “Brisbane’s okay for that, this time of year. I like it cold though.” “Do you?” He took a sip of his drink and smoothed his hair with a dry palm. A confused look on his sagging face like.

“Your mum likes the sun, doesn’t she?”

“She does.” Lillian remembered the smooth of her mother’s morning voice, fuzzy over the phone only half an hour ago, and tried to compare it to the deep one talking at her. “We’re travelling up from here, we’d like to get to Darwin eventually. We’ll have to see how far the van will get, though. We might be able to afford something bigger soon, Gail’s making a lot of money off those paintings now.” “Really? That’s good. I draw a bit, not for money obviously. What’s she painting?”

Lillian hunched her shoulders and pulled her head down, her body in his shadow but the sun still cutting into her eyes. “Landscapes mostly, but better than that rubbish you see in little motels and things. We went to this one place in Bellingen, a waterhole, and the whole time I was swimming she was sketching out this picture. I had no idea. She showed me later; there was the round rock edge of the waterhole, the gravelly little hill that sloped down into it, the trees all around the edges going up and up. She even put me in there, swimming in the middle!” “That sounds nice,” Lillian smiled thinly. She tried to imagine it but couldn’t. She dredged up memories of a waterhole that had been behind her house when she was growing up instead; a place her father had never seen and she wouldn’t tell him about.

“It was.”

He held his glass like he could crush it, thick fingers wrapped around the thing entirely, and Lillian folded her small hands into themselves silently. They sat at the café for another twenty minutes, watching people walking past and treading broken leaves to long green stains on the footpath. Lillian listened to her father tell her about a drawing he was working on, how Gail was helping him draw from sight rather than memory. Lillian finished her juice a second after her father finished his and they crossed the road before parting ways on the corner of Espeth Street, he making promises that they would catch up again while he was still in Brisbane. She nodded and agreed that they must, then watched as he left. He didn’t look back and she turned away as he took a corner and disappeared. At home, Lillian locked herself in her bedroom and, lying in bed, read a book until it grew dark and the patch of sunlight


on the floor from the single frosted glass window moved along the wall before fading into the dull brown of the rest of the room. She opened her laptop and within seconds a Skype window popped up accompanied by a loud ringing. Her mum’s name burned white on the screen.

creations and not having very much money. Lillian thought how she would never see any of those paintings, images that made her father the man that he was; barely used the internet, would never send her photos, and she wouldn’t ask to see them if she ever saw him again.

The computer screen glowed bright in the dark, under the pollution-pink night sky. She stared at it. She had forgotten to put music on and the sounds of cars and people and the blanket of night-time animal sounds were soft in her ears. Her mum’s stilled blur of a face stared out from the screen still. Lillian could make out her strong, aquiline nose and the wrinkles around the corners of her mouth. She hadn’t hugged her mum in months but spoke with her on the phone every couple of days and saw her face online as often, too. Already Lillian had lost her father’s face, she could imagine it but not the parts that it was made up of. She had nothing, now, to bring those features swimming up to the height of memory.

“Hey ma.”

“Oh my baby! I’ve been trying to call you all day!”

“Sorry ma. How are you?”

She was well, Lillian’s brothers were well. The garden was exploding into lettuces and tomatoes and pumpkins. The family dog was sweeter the older he got. Lillian listened to her mum, watching the pixelated browns and creams of her face stop and start on the screen as Lillian’s internet tried to keep up with her quickly shifting features. “And how are you sweet pea? Feeling alright today?”

“I’m well. I’m okay.”

The computer froze and the poor quality image of her mum’s face went still, staring out at Lillian in silence. She texted her mum, ‘sorry, internet’s awful’ and ‘speak later’. Lillian walked out onto the porch with a handful of tea-light candles and her computer with the intention of listening to music on it and watching the city skyline blinking its white lights. She sat the computer on the green plastic table and sat on the single matching chair with a thick crack through its seat. She lit the candles and looked out towards the city, only ten minutes away by car and full of so much expectation. Her job was there, her internship, her university, people she spent hours with wishing she had more to say. Even her father was in there, somewhere, probably eating dinner with Gail and talking of painting and the great sacrifice they both made in giving the world their


Kaya Ra Edwards volunteers, interns and studies within Brisbane’s world of the written word. She loves sweet tea and glitter and sleeping in. Kaya has previously been published in Voiceworks, LIP, Seizure, Trove and more.You can find her writing at:







EVE BYERS INTERVIEW BY DILLON MCINTOSH Eve Byers is a 24 y.o freelance videographer from Wellington, New Zealand. She moved to Melbourne spontaneously with the hunger for more opportunities, “There is more demand for video here, particularly in entrepreneurial communities”. How and when did you get into videography? It all started in my early teens with my fascination for digital design. I would spend hours coding basic blogs, playing computer games and manipulating photographs. I’ve always been passionate about experimenting with still and moving images. I get such a strong emotional reaction, especially when I resonate with a particular story or picture. I didn’t choose video, it chose me! Who and/or what inspires you? I have a knack for truly capturing the atmosphere of an event, or the essence of a person. Books, local production companies, filmmakers, photographers and graphic designers such as Lars Von Trier, Hillman Curtis, James Victore and Paula Scher have been major influences on me. I also feel that when you have a creative gift it’s your obligation as a designer to follow your dreams and just go for it. It’s important for stories to be clear and memorable and I provide a service for people who have something to say visually but aren’t sure how to say it.


What is a normal day like for you as a freelance videographer? My day would start by meeting with the client, hashing out ideas and coming up with the best way to communicate their story. I would normally create a concept or storyboard for the client but it really depends on the type of video they’re asking for. Other times, I’m asked to do last minute videos for events or launch parties. I find these the most challenging as there’s little time to plan and I often don’t know what I’m walking into! But it doesn’t take long for me to get in the zone and get the work done if I’m having fun at the same time. What would be the perfect brief or client to work on/with? The clients I’ve worked with have been amazing. They have a lot of faith in me, giving me the creative freedom to try out new ideas. And because I am still learning, they are very understanding when I need to reshoot or come in for extra footage. Some companies even let me work alongside them in studio which is fantastic for building working relationships and really getting a feel for that company culture.

Explain to us how your ‘Digital Wallpapers’ were created? The idea first came to me when I arrived in Melbourne when I was on such a high from this big change in my life. I was confused, scared, excited and extremely emotional about it. So I had to capture it. I love the idea of abstract design - to capture, pull apart, transform and repeat. The prints were originally made by setting up my camera on a tripod and recording footage of me in the dark with a few sparklers. I then imported the footage into two different editing programs, where I continued to transform and manipulate the footage going back and forth between the two. So technically, the prints can actually animate and move as well! Is there anything that you are currently working on or plan to work on that you’re excited about? I’m currently working on an “About” video for a Digital Agency as well as a trip to film a 54hour Startup Weekend marathon in Sydney this month. I would love to try my hand at music videos or documentaries one day soon. You can view more of Eve’s work at: //










STEVEN QUINN INTERVIEW BY DILLON MCINTOSH Steven Quinn, a collage artist from Belfast, Northern Ireland and currently living and working in East London spoke with Hanker Magazine about collage art, his inspirations and the process of his works. What is collage art for those that don’t know/understand? For those people unfortunate enough to not know of the joys of collage, it’s basically remixing various imagery into a new image. When did you first decide to try collage art? I have always loved collage... I can remember making collages in school from a very young age. I suppose in a way it has never really left me... I have always been slightly obsessive about collecting and hoarding images. Who/what inspires you and your works? I have been a big fan of the Futurists and Dadaists of the past so in a way they paved the way to validate collage as an accepted art form. Inspiration can really depend on the images I find... Sometimes you just know what your going to do & sometimes there are just happy accidents that happen in the studio or on the screen.


There is a lot of themes repeated in your works e.g. the moon, space, cities and swimming. Do you have a favourite object to work with? Originally I started to use space as a way to cover a large surface area quickly and it quickly became a bit of a motif. Also its just funny sometimes to play with scale/ mix up backgrounds or just place something in a new context. I suppose vintage American advertising is a good place for me as far as the found imagery goes. There is a lot of people/ cars/ cities/ ideal lifestyles within that kind advertising so there is room to play with and usually the ads are full page etc How long does it usually take to produce a work? Take us through the process... The process for me begins with finding images... If I find a good page on google or flickr with cool high res images or if I walk past a vintage shop/ thrift store I’ll go hunting. Usually I will spend hours cutting up books and magazines or in Photoshop... Once I have everything ready to go I start to play around with juxtaposition of various things. Obviously in Photoshop you can play around a little more but if I am making tangible work once the glue is on and an image is stuck down that’s it your committed.

What else do you work on other than collage art? I also take my camera everywhere as I am very much addicted to street photography. I also work for real money making music videos/ animated work/ graphic design. What’s the best tip you can give someone who would like to play around with collage art? Find images... Try to find things other people maybe won’t have and just play around and have fun with it. I think simple is always best. You can view more of Steven’s work at: // // //











CAST YOUR MIND BACK WRITTEN BY IRIS LO Cast your mind back, to perhaps 10 years ago, or not even, how about say 5 years ago. In the last half a decade we’ve seen the rise of fashion in the digital age. In this short span of time, the internet and technology has completely revolutionized the way in which people can approach fashion. Not only has online shopping for fashion been on the rise but also the way in which people can access fashion has been completely changed. Long gone are the days where I have to fork out $10- $15 monthly to stay up to date on the latest fashion trends or to know what’s Hot or Not or even to find out about upcoming designers. A quick type into google and Voilà! Everything that I could possibly want to know about the latest trends and everything fashion related is only a click away! Read all about it to your heart’s content! The information found on the internet isn’t just written by self proclaimed fashionistas or avid fashion faddists but also industry professionals. Even fashion magazines have caught onto this internet trend, most established fashion publications have their articles and editorials uploaded online to their website so you’re forever in the loop with fashion no matter where you are. No longer do I have to trawl through news agencies, suburb after suburb trying to find Dazed and Confused when its online content has sufficiently satisfied my reading appetite.


Not only has fashion magazines caught up with the trend but also designers themselves. The dream of seeing your favourite designers live and front row at London Fashion week or perhaps New York fashion without being some famous celebrity or renowned fashion blogger is no longer as unattainable as you once thought. Nearly all designers now live stream their fashion shows, you can now enjoy the front row experience without bumping shoulders with the person next to you and the loud sounds of camera shutters going off all the time and the incessant talking and opinions of those around you. You can even eat ice cream covered in chocolate out of the tub in your comfy flannel pjs (it doesn’t get much better than that) while watching the fashion show without the glares and judgment of Anna Wintour and models and fashion industry professionals. All can be enjoyed in the comfort of your own home or perhaps your bed with the laptop. Even if you missed the live viewing, no fear! Websites like Style. com ensure that you won’t miss out on seeing the designs of your favourite designers nor the runway itself. If you’re particularly keen on splurging and getting your hands on the newest fashion before it even hits the stores, online trunk-shows are becoming increasingly popular through websites like Moda Operandi and Bergdorf Goodmans where you can purchase the pieces before it’s even seen on the racks of David Jones or your nearest department store.

Feeling depressed over not being able to buy those beautiful pair of Opening Ceremony boots last week as they ran out of stock in your size? Or that cashmere sweater from Ralph Lauren that you’ve waited half a year for to go on sale which you MUST possess that you’ve even ordained a place for it in your wardrobe but when you finally go and buy it, it’s completely sold out everywhere besides in a different country? We’ve all had that happen at least once in our lives, and if it hasn’t yet, I guarantee you it will happen one day! Alas, you think there is no hope for you to ever find it, but despair no more, once again the internet provides the solution to your problem. A quick search with your best friend google is all it takes, there are most probably online shops or a multitudinal amount of websites like Revolve Clothing, Net-a-porter, Out-net, Asos, Urban Outfitters selling the article of clothing that you are desperately seeking and more often than not, it’s probably selling at a much lesser price than the price you saw on the tag in the retail shop (this is especially true in Australia). Not only that, but with the rise in popularity of online shopping, more and more independent labels are selling their one-off rare pieces or their own original designs through sites like Etsy, BigCartel which pretty much guarantees that you won’t be clothing clashing with someone else at your next party. (no one likes clothing clashing). If you’re a lover of vintage especially designer vintage, Etsy and Asos marketplace should definitely be in your favourite tabs.

There is no doubt fashion has taken the internet by storm. Fashion has become more and more accessible to everyone from every demographic as long as they have access to the world wide web!

You can view other pieces by Iris at:






PHOTO: Deckland @ Hobogestapo 101

THE INFINITY PRISM INTERVIEW BY DILLON MCINTOSH Tell us a bit about yourselves, when did Toby and Pete come together?

What is the Infinity Prism for those that don’t know and how does it work?

We met roughly 10years back whilst we both worked at Electric Art (digital imaging specialists). After 4 years of working together, Toby left to pursue a career of art direction, working for Saatchi & Saatchi for 2 years. We both reconvened on the freelance circuit and after doing a couple of jobs together, word spread and before we knew it we were busy enough that we needed to make something official. Toby and Pete was formed in 2010.

The installation is a six-sided device that sits within Flume’s desk on stage, and was built entirely by hand by Toby and Pete. A custom electronic control box for the prism was designed and created in-house, by electronics developer, Nick Clarke. Prism software was also developed by T&P’s interactive developer, Lukasz Karluk. The software connects directly to Flumes live set, receiving messages to change patterns to coincide with musical changes. Close to 200 individual patterns were created for Flume’s live set.

What are some of your favourite works that you have done and what are you currently working on? It’s hard to pin point our favourite jobs as we love doing so many different things. To put down a few. • Field Day 2012 - Makes Wonderful • Steve Back - Typography Jumping Castle • Flume - Infinity Prism Tour/Prism • Disclosure - You and Me (Flume Remix The most exciting thing we have and still are working on would definitely be the Flume project. Wether it be music videos or the live shows. He’s a super talented guy with a really great vision, as is his record label Future Classic. They’ve given us a huge amount of freedom and are open to really fun ideas. There’s more to come.


Where did the idea for the Infinity Prism come from? Was it Flume’s idea or did you all collaborate to the final creation? Future Classic were looking for a visual icon for the artist that would become as identifiable as the music he produced, so creating the right stamp to accompany Flume’s rise in popularity was paramount. We went to work on designing an aesthetic that encompassed Flume’s already existing associations, drawing inspiration from the kaleidoscopic cover art on his album and singles. The Flume Infinity Prism was born. Is there anybody else that played a major roll in its creation e.g.. a construction crew? These days, Toby and Pete encompasses far more than the two founders. We have an amazing, diverse team that all pitched

in producing this work. Our internal team consists of Toby Pike (Creative Direction), Piotr Stopniak (Creative Direction, CGI), Mic Wernej (Producer), Angus Forbes (Director), Lukasz Karluk (Interactive Director), James Jirat Patradoon (Art Director), Aaron Kuswara (Designer), Lachie McDonald (Designer/CGI). Outside of T&P, we collaborated with Nick Clarke to build the electronics on the Prism. For the tour, we worked with lighting technician extraordinaire Lynden Gare, known for his work with Cut Copy and Kimbra, to ensure that Flumes live expo is broadcast flawlessly. Was there any inspiration that helped with the final product? I think Flume’s rise to fame was inspiration itself. We first met a few months before the album was released, we had a gut feeling it was going to be received well, but nothing had prepared us for the speed at which he rose to fame. Our initial thoughts was that we would be designing the show for solo gig sizes of maybe 2000 people. So to go from that, to sell out shows at the Horden, Exhibition Hall and Riverstage, was massively exciting. Were there any problems or disasters that occurred with any part of its creation?

amount of work. The only way to get through a massive workload is by sacrificing sleep. I think we were all working past midnight for the 6weeks leading up to the launch at Triple J’s One Night Stand. If you had to change it in anyway what would you change and why? There’s definitely a few things we want to improve, but I think that’s only because we’re such harsh critics of our own work. We’re really proud of the work to date and for this tour, we’ll leave it as is. Moving forward, we’ve got some great ideas. So it’s not about changing what we’ve got, rather creating something new and carrying over the elements that really stand out from the current tour. It’s really exciting.

IMAGES BY: Deckland @ Hobogestapo View the video that inspired this interview: // For more of Toby & Pete’s work visit: // //

There were definitely hiccups, but no disasters. The hardest thing to overcome was the huge


PHOTO: Deckland @ Hobogestapo 104













Profile for Hanker Magazine

Hanker Magazine #2  

This issue of Hanker Magazine introduces 2 new members of the team, Celeste Abrahams and Iris Lo, features; photographers Stephen Criscolo a...

Hanker Magazine #2  

This issue of Hanker Magazine introduces 2 new members of the team, Celeste Abrahams and Iris Lo, features; photographers Stephen Criscolo a...