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The Adele Kay Alison Hawthorne Ford Allison Levinson amanda carmen cromer Amy Bishop Amy Goodwin Andrew Ross Angelica PastenAnderson Anne Rosser Anneke van de Vusse Anneliese Milk Bec Adamczewski Belinda Bauer BEN BRITTEN Ben Walter Bill Seager Brett Littleton Bronwen Jones Cameron Baxter Caren Han Carl Lawrence Gavan Casey Garrett Catherine Case Chris Cooper Chris Nicholas
are a group of young (ish) people who enjoy engaging in a bit of cultural gluttony at the tasmanian museum and art gallery to join visit Danica Pitt DAVID COLEMAN David Chung David Sinn David Tng Delia Nicholls di andoni Diana Dzelalija Edwina Foster Elizabeth Clark Elizabeth Jack Ella Woods-Joyce Emerson Shuey Emma Bett Emma Reid Emma Savage Emmanuelle Bostock Erin Linhart Felicity Graham Garrett Donnelly Geoff Attwater GLENN MEAD Grace Warburton greg kerin Greg Lehman Gretchen Meares
www.tmaggots.org.au
Helen Berwick Irene McGuire James Bryce James Wood Jane Christie-Johnston Jane Longhurst Jaqi King Jenni Sharman Jennifer Phillips JESS ATKINSON Jill Walker John Keane John Morgan John Sexton justin murphy JUSTIN MUNDAY Kate-Ellen Murray KELLY EIJDENBERG KEVIN REDD Kim Foale Kim O'Sullivan korinna leach Lea Crosswell Lucy Hawthorne Lucy Henry Lucy Ogilvie
Lyndal Mellefont Maria Pate Mark Fitzpatrick Mary Anne Lea Mary Cunningham MaryAnn Herbert Melanie Horder Michael Carrington Cromer Michael Lavender Michael Lynch Naomi Skelly Nicola Smith NICOLE GORDON Norin Alam Pam Webb Pete Smith peter burridge Prue Loney rachael rose REBECCA TUDOR Robert Kilpatrick Robert Rockefeller ROWENA WILKINSON Rohan Astley sabina bickley
COVER IMAGE: Hummingbird by Beth-Emily (www.beth-emily.com). Views expressed in this newsletter reflect the views of the authors and not necessarily those of the TMAGgots group or the TMAG.
Sam Dix Sara Wright Sarah Bishop Sarah Reinhart Saz Newbery Sharon Joyce Shaun Wilson Sheona McLetchie Silver Huang Skye Targett Sophie Edwards SOPHIE CARNELL Steph Houstein Stuart Edwards Sue Baker Susan Molyneux Suzy Cooper Tom Hiscutt Tony Brown tony hope Tracey Cockburn Valentina Marshall Veronica Sierink Vicki Colville Warwick Marshall Warwick Pease Wes Young
Welcome to the silly season edition, dear reader. This issue we reflect on Game On at the QVMAG and the RACT Insurance Youth Portraiture Prize 2010, as well as look forward to the coming MONA FOMA and of course the opening of the Museum of Old and New Art in late January (oh, we are GOING THERE). Thanks to all who turned up to our Tasmania Day @ TMAG celebration in early November. It was a terrific day and we were pleased to show off our wonderful volunteers to the public as well as take you on a tour of the museum from the dungeons to the plover-infested rooftops. We are very pleased to have marked off five years of fabulous MAGgoting, and kudos go to instrumental peops such as Tony Hope and the Friends of TMAG, who founded us in the first place, as well as Deputy Director Peter West and ex-FTMAG President David Coleman, who have been there for us year after year, making sure that our events run smoothly and that we have practical, on the ground support. Next year should be a big one for us, as we hope to see a repeat of this year’s successful quiz night at Moorilla, and we will also start to see some of the major redevelopment changes beginning to occur at TMAG. I look forward to sharing some of these exciting experiences with you and, on behalf of the TMAGgots, have a very merry Christmas and a safe holiday. KELLY EIJDENBERG President, The TMAGgots Inc. kelly@tmaggots.org.au
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There’s never been a better time to be a young film-maker in Tassie... Congratulations to all the winners of the 2010 MyState Financial Student Film Festival, the biggest one yet! The whole State was represented, with 117 entries coming from 40 schools and individuals, from Primary to Uni peeps. Once again, the talented students at Table Cape Primary took out the prestigious People’s Choice Award, with their clever live-action short, ‘The Egg Factor’. (Check out all the entries online at the Film Festival website.) And not only was $10,000 in cash and prizes announced at November’s red-carpet Awards Ceremony at the Theatre Royal (including a brand new scriptwriting
So, your challenge next year – should you choose to accept it – is to produce a 5-minute film that includes ‘$5 Note’. Fame and fortune await... Go to mystatefilmfestival.com.au or head to the Facebook page for more updates as they happen.
MAGGOT of the month
DECEMBER
Reel cool
award for budding writers)... the theme for the 2011 Film Festival was also announced.
Belinda Bauer spends her spare time drinking tea, reading and hula hooping – only occasionally at the same time. At work she skins, stuffs, pickles, labels and databases animals for TMAG. She loves nothing more than a good handwritten museum label. Although stepping fresh out of uni as an archaeologist, she has worked across numerous disciplines in the museum world, including auditing historic house collections, sieving devil poo, trapping spiders in Irish bogs, dissecting giant squid, digging up convict gaols, pushing dolphins back into the ocean or going shoulder deep into the stomach tract of a sperm whale.
ART DECO BUS TOUR PHOTOS AND REPORT BY ANDREW ROSS
I recently had the disconcerting but very enjoyable experience of being taken on a tour (on a bus!) of the suburb in which I grew up. The tour was to look at post-war modernist houses in the Hobart eastern shore suburb of Lindisfarne, which enjoyed a period of development during this era due to the access provided by a road bridge which opened in 1942. The houses, according the the historian who guided us on the tour, embody a mix of post-war optimism and hope for a new modern world,
recent events
combined with an austerity that was in part a function of the shortages of building materials following the war. The tour was presented by Clarence City Council as part of its sesquicentenary celebration and the fabulous TMAGgots: the ‘young’ friends of the Tasmanian Museum and Art Gallery. These are a few photos of some of the buildings highlighted on the tour (and the guide assured us that the residents had given their consent to be featured on the tour).
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A peek behind the curtain at the
Tasmanian Theatre Company
By REBecCA Harwood
The Tasmanian Theatre Company is back with another jam-packed season and is offering TMAGgots a sneak peek at the amazing theatrical experience it has to offer! 2011 will bring the fourth season of professional theatre for the Tasmanian Theatre Company (TTC), featuring Tasmanian artists telling Australian, and particularly Tasmanian, stories. Premier David Bartlett launched this season on November 29, revealing that it will include three world premieres by Tasmanian writers, an interstate and regional tour, an international collaboration and new projects by some of Tasmania’s best independent artists.
TTC kicks off its season with a world premiere of a new Tasmanian play, Poxed, written by Stella Kent, and directed by award winning Canadian director Jillian Keiley as part of the Ten Days on the Island Festival. TTC is also presenting the Hobart season of the new work, Beautiful by Carrie McLean. And for you I Am My Own Wife lovers, it’s back! TTC has received a grant from Playing Australia, the Australian Government’s national touring program, which will take this smash hit production on a tour of Victoria, ACT and Tasmania. I Am My Own Wife tells the true story of Charlotte von Mahlsdorf and her escape from persecution during the Second World War. Robert Jarman showcases his outstanding work by playing nearly 40 characters, treading the fine line between reality and impossibility that makes Charlotte’s story so vividly theatrical and completing engrossing. I Am My Own Wife will have a short return season in the Theatre Royal
Backspace before heading out on a regional Tasmanian tour, presented by Tasmania Performs. Can we get a glimpse of anything else through this gap in the curtain? Oh yes we can! Award winning playwright, Finegan Kruckemeyer, has been commissioned by the TTC to write a new school’s touring performance, The Boy with the Longest Shadow. The annual playreading series will also be presented, giving Tasmanian playwrights, actors and audiences a chance to come together and test and discuss new scripts throughout the year. 2011 introduces the brand spanking new Associates Program for the TTC, which supports independent and professional artists to present inspiring, challenging and entertaining theatre to Hobart audiences. TTC is working with these artists to present a range of work varying widely in theme, style and genre.
Want to know more beyond being sneaky? TTC is moving away from traditional subscriptions for the 2011 season and introducing TTC FRIENDS. This membership is $22 per person in 2011...but wait there TMAGgot! TTC is offering a discount membership at a cost of $15 until December 17. This membership will save between 15–50% on ticket costs of all TTC productions throughout the year, and offers many more perks. •
Head to www.tastheatre.com for more information.
Guy Hooper and Jemma Gates in The Seagull, from Sex Death and a Cup of Tea 2010. Photo by Irene Lemon.
Robert Jarman in I am My Own Wife, 2009 (returning 2011). Photo by Alistair Bett.
Ryk Goddard in Andrew Corder Thinks Twice, 2010. Photo by Peter Mathew.
MAGGOT of the month
When EMERSON SHUEY was asked if he’d feature in The Apple, with the instructions ‘don’t be afraid to be silly’, it was music to those little trumpet-player ears of his. Emerson is a resident of the leafy precinct of Moonah. He works for an events company that decorates for weddings, parties, conventions, corporate events and the person who just wants a bunch of balloons. A gangly 6 feet 9 inches and an avid sports fan, Emerson played indoor hockey recently and felt like a giraffe pushing a pea across the floor with a toothpick... maybe it is time he finally took up that sport they call ‘basketball’.
JANUARY
Gainsbourg BY SIMON DELITTLE
– now showing at the State Cinema www.statecinema.com.au There’s something about excessive quantities of sex and drugs combined with an inevitable descent into madness that make bio-pics of eccentric musicians fascinating viewing. But a train wreck alone doth not a movie make and since the blueprint has become so familiar that it is open to parody (kudos to Russell Brand), it is crucial for film makers to find an original method of storytelling. Mat Whitecross’ inimitable depiction of Ian Dury is one of two great examples produced this year. The other is graphicnovelist-turned-director Joann Sfar’s monumental tribute to the life and times of legendary singer-songwriter, multi-instrumentalist, actor, poet, director and lover, Lucien (Serge) Gainsbourg.
We meet young Lucien living an obscure bohemian life in occupied Paris. In between chatting up older women at art school and in bars, he fraternises with an imaginary alter-ego who changes form throughout the film. As reality dictates that he must flee to a boarding school to escape persecution from the Nazi occupiers, we get a preview of Gainsbourg the adult – awkward and shy but with the ability to charm the socks off anyone who underestimates him. He is first and foremost an artist and storyteller, skills that pave the way to fame, fortune and much philandering. Gainsbourg eventually finds his vocation through an extensive catalogue of frequently absurdist songs. He jumps between musical genres as he does iconic French actresses, all the while married to a string of long suffering wives. Arguably the most significant relationship is with Jane Birkin who features in his most popular and
review controversial hit Je T’aime… Moi Non Plus, a personal favourite of this reviewer. As with so many other stories of fame and excess, Serge’s lifestyle eventually catches up with him and, casting his alter-ego (representing his insecurities) aside, he throws himself into a downward spiral of consumption that results in the once brilliant artisan becoming reduced to the status of the town drunk. In spite of his demons, Gainsbourg remained productive until his death in 1991 at a respectable age of 62. In the title character (as an adult), Eric Elmosnino is simply extraordinary. Looking like a cross between Jean-Paul Belmondo and Mr Bean, he embodies the character with impeccable precision. Reflecting the surreal nature of the film, Serge’s daughter Charlotte was originally cast to play the role, but pulled out just before production began. Other notable performances include the
late (she committed suicide during post production) Lucy Gordon as Birkin and Laetitia Casta giving an ‘unforgettable’ portrayal of Brigitte Bardot. Another highlight among the ensemble is Razvan Vasilescu’s hilarious performance as Gainsbourg’s star-struck father. But the real star of the Gainsbourg is director Joann Sfar. As a creator of comics and graphic novels, Sfar has achieved much notoriety for his amusing combination of Jewish history and humour. In his debut feature film, he successfully transfers his comic sensibilities to the screen through the deft use of surreal imagery. In the spirit of Jeunet & Caro, characters and inanimate objects morph into imaginary beings through the perspective of the central character. Such diversions add new layers of meaning to Serge’s life whilst providing refreshing comic relief for the audience. Unfortunately, after the fast decline in Gainsbourg’s health
and reputation, the film doesn’t really know how to conclude and the audience is left to stagger along through several fairly uninteresting scenes. Whether this was a deliberate attempt to reflect the last days of a fading star, I don’t know. Nonetheless, it is the only slight blemish on an otherwise outstanding film achievement.
Drawn from life BY AMANDA CROMER
Local illustrator, Beth-Emily, was a finalist in this year’s Qantas Spirit of Youth Awards, in the Visual Communication category. The winners – out of a field of 21 young creatives – were announced at a gala presentation at Sydney’s MCA on 11 November, and while Beth-Emily didn’t make the final cut, she’s definitely one to watch! Congrats on being a SOYA f inalist! What was the process for entering? The Qantas Spirit of Youth Awards cover a broad range of creative disciplines and are open to anyone who is an Australian resident under 30. The process of applying was really quite easy; I simply submitted a collection of my work along with a short biography.
Tell us about your history as an illustrator... Drawing has been a constant passion and drive in my life. So, it seemed only logical to want to explore and build upon this passion through studies at the Tasmania School of Art. During my time in academia, I discovered a passion for mark-making and textures through the discipline of printmaking. Furthermore, I gained a stronger comprehension of composition through my studies in graphic design. It was not long after I completed my studies that I combined all of these skills and established my creative practice, Beth-Emily. How does the Tasmanian environment influence your work? It’s so beautiful here and you don’t have to travel very far to experience the sublime beauty of the Tasmanian wilderness. I think it has influenced my work in many ways, but most predominantly through my treatments of colours and textures.
Do you feel isolated or inspired by living on an island? There is an upside to the isolation, in that it allows the Tasmanian wilderness – a source of inspiration for my work – to exist in such a unspoiled state. However, the downside is that it makes it far more difficult to be a part of the greater Australian creative movement, while also creating hurdles when being approached by others for opportunities. But I’ve found that this can be overcome with a little nous and hard work – I’m not exactly marooned! How do you get your work out there? A lot of the PR work I do for BethEmily is self-initiated and executed online. As a creative, having an online presence allows me to display my illustrations to a global readership and bridge the geographical hurdles faced by living in Hobart. I keep a strong online presence through my contributions to my own blog, and that of other creatives I collaborate with or admire.
What are your career plans? There are some devious plans being hatched for collaborative exhibitions with other talented Tasmanian ladies! The first of which is with my good friend and co-founder of Floatingworld, Alecia LanzlingerGroom. We’ll be hosting an exhibition in Salamanca, Hobart, in February. The other will be with the talented fashion illustrator, Kelly Smith. We’re planning to have a exhibition early next year in Melbourne.
Any advice for young Tasmanian illustrators? I’d have to say that the phrase “good things come to those who wait” does not apply to a creative professional in Hobart! You need to be proactive. Get your work out there and don’t be afraid to network with other creatives. I’ve found my network to be a constant source of support and this can make all the difference. •
See more on Beth-Emily at: www.beth-emily.com
I’m also planning to travel mid next year. I looking to meet with other professional creatives over a cup of tea to discuss art, design and craft. While travelling, I’m also going to take the opportunity to explore other wildernesses to find sources and subjects for inspiration.
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Buy Beth-Emily’s work at: www.etsy.com/shop/ kittensandcrumpets
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Fore more on the SOYAs, go to: www.soya.com.au
This will keep me very busy this summer, but I’ll make a little time to sit outside with all my pencils and draw in the sun.
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Beth-Emily’s Artist Statement The untamed wilderness of Tasmania, which is so rich in flora and fauna continues to inspire me. I take great delight in observing and documenting the magnificent beauty of the natural world. This long held passion for the wilderness informs all of my creative work; whether illustration, graphic design or printmaking. My approach to observing or catalouging forms in nature is not scientific. Nor do I attempt to accurately depict or replicate the real-life subjects that I study. Instead, I work by finding the unique idiosyncrasies that exist in a subject and then take these characteristics and combine them with imagery created by my imagination. In effect, I create a hybrid of sorts, which ultimately bridges the two realms of the physical world and the world of the imagination, through the vehicle of illustration and design.
In recent years, after lacking creativity in other jobs, I established my own graphic design practice, Floatingworld, where I’m afforded the freedom to express my creativity through illustration and design. Alongside my two business partners, Alecia Lanzlinger-Groom and Tom Fitzgerald, we work as a multidisciplinary studio and collaborate with other talented creatives locally and internationally. I hope that through my creative practice, I can show people the sublime beauty that nature has within this world and the endless wonders of a creative mind. I hope to in the future to travel to other remote places to study and practice my creative passion.
Beth-Emily’s Dark Materials “I create with paper, pencil and graphite (most of which ends up all over my hand as I’m lefthanded). However, I also love creating hand-generated textures with watercolour, paints and ink, as they can provide depth, details and tones that can never be replicated by pencil.”
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BY SHAUN WILSON AND TRAVIS TIDDY
PHOTOS BY GLENN MEAD
review In their short history, computer games have quickly grown from obscure geek pastime to mainstream entertainment. The industry took in US$21.4 billion in 2008. The latest Halo game made US$200 million on its first day. (For comparison, Toy Story 3, the highest grossing film of 2010 so far, made US$110 million on its first day). For a medium less than 40 years old, it’s doing pretty well. To remind us of how those button mashing, power-up filled years have been, along came Game On 2.0, landing noisily at the Queen Victoria Museum & Art Gallery in Launceston. A few of us made the trip north and parted with the $15 entry fee to press the Any key. The most impressive thing about Game On was the array of machines and games they managed to fit in to one room. Everything from Pong to Halo to Guitar Hero to Super Bomber Man to Tomb Raider was
there – over 120 examples of gaming goodness – along with every gaming machine you’ve ever used, including an Atari Jaguar, with its wonderfully obtuse combination game controller/ calculator. Of course, such an array drew in a crowd, and we found ourselves in a sea of hyper-excited kids. Under 18s only make up 25% of all gamers, but they certainly made their presence known at Game On. Nonetheless, the sheer number of games meant you were able to find something nostalgic or cutting-edge to play with. Beyond the manic game-filled room, there was a separate area delving into the history of a few particular icons. Brief histories of Sonic, Mario and Lara Croft were on display, along with a wall dedicated to every edition of The Sims (a fairly scary amount of boxes). Best random factoid? Lara’s generous chest was a result of a code typo – they were originally
more sensibly sized, but a mistake inflated them to their now comical proportion, and the developers decided to run with it. There were certainly plenty of games to play with at Game On, but it felt lacking in terms of context. Beyond a few specific case studies, there was little to guide you on how the plethora of gaming madness had developed. The main room was simply a bunch of gaming machines plonked down in a random arrangement. We’d hoped to be taken more thoroughly through gaming’s history – especially as the exhibition was at the QVMAG – but we instead got a barrage of flashing lights that tried to distract us from the lack of depth to the exhibit. Nonetheless, it made for an entertaining reminder of what we grew up with, and let us see first hand some of the gaming legends we’d only heard tales of.
now showing
C20: 100 years of Australian art from the TMAG collection on now until June 2011, art galleries 1, 2 & 3
Featuring some of the finest works from TMAG’s Art and Decorative Arts Collections, C20 is an exhibition celebrating Australian art and design from the twentieth century. Featured artists include Merric Boyd, Grace Cossington Smith, Russel Drysdale, Ian Fairweather, Donald Friend, Emily Kame Kngwarreye, Clement Meadmore, Sidney Nolan, John Perceval, Arthur Streeton, Albert Tucker and Philip Wolfhagen.
TasmaniAN Painting until mid 2011
Complementing C20: 100 years of Australian Art from the TMAG collection, Tasmanian Painting exhibits contemporary works by some of Tasmania’s most significant artists. Three works from Mary Scott’s The Keeping Room series, recently acquired using funds from the Contemporary Tasmanian Art Acquisition Fund, are featured. Patrick Hall, Tall stories from the art world, 1993
what should I do at tmag this weekend?
IMAS is a teaching and research organisation created to bring together the many strands of marine and
Antarctic research currently being pursued in Hobart and to encourage the development of strengthened research links and exploit new research opportunities.
www.imas.utas.edu.au
BEHIND THE RACT INSURANCE TASMANIAN YOUTH PORTRAITURE PRIZE The year’s most anticipated portrait prize did not fail to deliver. Containing 37 vastly different artworks from all over the State, we had a naked man, a self portrait with a cow and a portrait painted in coffee.
Ben Britten with Companion
According to Paul Jenkins, Executive Director of Tasmanian Regional Arts, “The only person braver than the person sitting for the portrait is the artist.” KELLY EIJDENBERG took a camera to the Hobart launch and grilled a few of the bravest...
“...simulateS a real paintbrush within a computer – down to the movement of the bristles.”
feature DARCY LEFROY Sad Now
In this work I attempted to encapsulate the state of mind that has dominated my existence for so long now, but in a subtle and non subjective way. I tried to make my facial expression resonate with the conflicting emotions I have endured, and my slouched posture conveys my sorrow. I refrained from having tears, blood or violence in this art work as it is too blatant and subtracts any meaning that the work could have had. I just showed me, how I am; with no exacerbation or anything. Sad now.
Darcy Lefroy, an 18 year old from Fremantle, spent “about a week” on his self portrait, which was created using Adobe Photoshop CS5’s Mixer Brush. He says the tool allows him to “simulate a real paintbrush within a computer – down to the movement of the bristles.”
He cites Van Gogh as an inspiration. “I was trying to convey a strong message but in a subtle way so that the observer could draw their own conclusions, and that the one I had intended wasn’t staring them in the face. The work I chose does just that, it has an underlying message within it, but it’s not too blatant.”
Darcy describes Sad Now as a “digitally reconstructed painting.” Encouraged by his visual arts teacher to enter the RACT Insurance Tasmanian Youth Portraiture Prize, Darcy worked on the piece at night, after school and on the weekends. “Every time I looked at what I had done so far I thought it needed something more, it drove me mad; I stopped when I couldn’t make it look any better.”
While he has experience with “real” painting, using this digital medium is obviously something that comes naturally to Darcy and it was exciting to see a number of digitally-produced artworks in this year’s prize. Brooke Atkins, Reuben Oates and Michael Blake submitted intelligent photographic pieces, while Kathryn Whiteley’s Reflections on Identity created a stunning effect using digital photography and “the genre of light graffiti”. It will be interesting to see what techniques next year’s crop produces.
RACHAEL GATES Michael Fortescue Runner-up winner Rachael Gates is 28 and lives in Richmond. She is a Youth Participation worker with Hobart City Council, a uni student and a mum. This is her third entry into the RACT Insurance Tasmanian Youth Portraiture Prize. Rachael says; “I got involved because it gives me a deadline that makes me actually do some painting (which is pretty rare for me since I have had kids).” Rachael studied Fine Arts at UTas and has gained additional knowledge of working with acrylics through trial and error, adult education courses, advice from peers and from staff at Adart and Entrepot. She says of her subject choice; “I was planning to paint Cassy O’Connor. She is very elegant and I could picture an art deco-inspired portrait of her in my mind – it was going to celebrate her work on the
Save Ralph’s Bay campaign. I had organised to take reference photos and then the whole election/ hungparliament thing happened and it was a bit difficult to organise within the competition deadline. I then reverted to a theme I have been exploring for about 10 years – which is portraits of musicians. Michael Fortescue is an excellent portrait subject. He is an interesting person and arresting to look at. I am glad that he was okay about the idea. I think you have to be brave to be a portrait subject for someone else.” Inspired by artists such as Elizabeth Peyton, Evert Ploeg, Gustav Klimt, Greg Warburton, Esther Erlich, Nora Heyson, Robert Crumb, John Brack, Rachael admits that she is a “very slow” painter and her portraits often involve hours of sittings, although she adds: “I don’t have the luxury of that sort of time any more – and neither do most sitters.”
This work took five months and approximately 250 hours to complete. Rachael uses a tiny 000 brush and many semi-transparent layers. She says that she developed RSI in her wrist and had to go to physiotherapy for treatment. Most of her painting occurs while her children are asleep. However, Rachael describes her work as a team effort: “I have a very patient and supportive family who do many, many hours of babysitting while I paint. Because I was painting in the lounge room my partner took the kids out for drives almost every weekend as well...I think they spent a lot of time at the museum discovery room. Also the night before the delivery deadline I rang my brother in a panic because I didn’t have anything to transport the painting in. He spent about six hours that night making a shipping crate on his kitchen floor. It really helps having people supporting you.”
And I imagine that support is what you need when you are thinking about the next painting before you have finished the one you are working on, as Rachael does. “I do sketches and plan out very elaborate compositions and weird ideas for materials and surfaces. These invariably get culled. I think it is often the simplest things that work.” So I wonder how the subject feels about the end result? Rachael reckons that she “added about 20 years” to how Michael Fortescue looks in real life. “Most people wouldn’t cope well with this but he was okay about it which was a relief. I think he liked the portrait.”
Michael Fortescue is an enigmatic Hobart identity. As you navigate the city footpaths you might catch a glimpse of him, scarf-clad, double bass strapped to his back, skillfully ducking under shopfront awnings and weaving through the crowds. Or, perhaps you have noticed him achieving the seemingly impossible task of fitting a double bass into the tiniest of cars parked outside the concert hall. He is undoubtedly a striking figure. Someone you notice not for the usual reasons of being loud or brash, but rather because he has an air of calm and thoughtful purpose. I first became acquainted with Michael several years ago when I was seeking music lessons, as I had just started playing the double bass. I realised he would make an ideal subject for my ongoing series of portraits of musicians. Michael has dedicated many years to the double bass and has been a member of the Tasmanian Symphony Orchestra for more than 30 years. Michael’s chosen instrument has a formidable presence; it has a visceral resonance and its huge form is unavoidable. It looms in the corner of a room more like a living being than a static object. I have attempted to bring this same presence to my portrait without depicting the double bass itself. There are no averted eyes, props nor detailed background in which the viewer can take refuge. The gaze is like a musician’s performance, exposed and direct. You may feel connected or confronted. All that remains is you and the portrait – looking at each other.
“My paintings are always a team effort.”
My grandfather, if you ever meet him, will tell you stories from his past as if you were flicking through his personal photo album. He is an interesting character with oldworld charm, an infectious sense of humour and an obsessive desire to improve everything that is not up to his high standard. His endless stories grip you, bore you, even bend you over in laughter, and there is no shortage of them. His stories tell of all his experiences, which can be seen in every facet of his face, from his sun-damaged cheeks to his rich frown lines. Within this vessel of experience burns a soul of untold humanity and reflection, the humble exterior a meagre sample of what lies within. I have tried to capture the essence of the man; however, have come up with a mere glimpse of his character. If you ever have the pleasure of meeting this humble man, you will never forget it, nor should you.
AARON HUTCHINS Vincent Aaron is a 27-year-old sales assistant from South Hobart. This is the first year that Aaron has entered the RACT Insurance Tasmanainan Youth Portraiture Prize. In his words: “I got involved simply because I love to paint, also because it provides young artists a great opportunity to get their artwork into the public eye, which I think is invaluable if your aim is to make a career from art.” Having recently completed his final year in a Bachelor of Fine Arts, Aaron is inspired by large-scale portraiture by artists such as Chuck Close, the hyperrealism of Jan Nelson and Richard Phillips, as well as “the incredible work done by Luc Tuymans”. Aaron estimates that the Vincent took well over 48 hours, which would have been interspersed between juggling work and university.
“As soon as I had decided to enter I knew that I wanted to paint my grandfather.”
I ask how Vincent felt about having his portrait painted. “I never really asked if I could paint him – I told him I was driving up to Burnie to take his picture so I could then paint him. I’m unsure whether I told him I was entering it in a competition or not. He willingly went along with it, so I guess he was supportive of what I was doing.”
Aaron has been painting with oil paint since he started his degree, so he has a pretty good understanding of the medium, but acknowledges that he is learning more about the medium the more he paints. As someone who aspires to using oils like this, I ask him about his process. “I like to plan the composition thoroughly, and plan what colours I will use. However I try to leave plenty of room for spontaneity in my artwork as I feel these ‘spur of the moment’ adjustments are what really makes the painting sing.” “There were quite a few a setbacks – I forget how many times I wiped back the paint because I was unhappy with what I had put down. I spent many nights looking at it, frustrated by my previous attempts, on the odd occasion I had to turn it around and not look at it for awhile.” DETAIL
“As soon as I had decided to enter I knew that I wanted to paint my grandfather. My grandfather is quite an interesting character, and at the time I felt he was the best subject to paint. Naturally you can draw on a lot of emotion when painting a family member; I think this is why the painting turned out to be successful in my eyes. I set up a photo shoot to get the composition right, but I tried to paint from memory as much as I could and only use the photo a reference if I needed to.
Like many of the artists, Aaron had friends and family provide feedback during the painting process. “I appreciated all the positive feedback, but I felt that if I got comfortable I wouldn’t push for a better outcome. I probably put a lot more pressure on my self than I needed to, however I was happy to put the effort in.” I ask Aaron how he knew when to stop. “I stopped when I had exhausted myself enough and when the painting let me.”
recent events WILLIAM MERRYLEES Self Portrait in a State of Uncertainty William is a 21-year-old carer from Taroona. This is the first time he has been involved in prize – entering because he thought it would be a good way to get his artworks out into the public, and that it was also a “meaningful way to establish myself as a new Tasmanian”. William has been studying Fine Arts in 2008 and 2009 at the University of Newcastle, but has been enjoying a gap year this year before recommencing university studies in 2011. for quality graphic design for quality graphic design
Julie Hawkins Julie Hawkins
Kelly Eijdenberg Kelly Eijdenberg
8 Union Street West Hobart TAS 7000 8P Union Street West TAS6500 7000 03 6234 5300 • FHobart 03 6234 P info@ingraphic.com.au 03 6234 5300 • F 03 6234 6500 E E info@ingraphic.com.au
William is not surprisingly inspired by surrealist artist Dali as well as the fantasy artist Boris Vallejo. “My concepts are also influenced by the Greek-Australian performance artist, Stelarc, whose work explores extending the capabilities of the human body. Even philosophers and scientists such as Daniel Dennett and Steven Pinker inform my ideas about
the human mind as a materialistic entity, which I try to explore in my works.” William explains that the main way his artwork differs from traditional portraiture is the change in emphasis to what is being represented in the head, rather than the more traditional emphasis on the personality and mood of the subject via its facial expressions. “In my portrait, the traditional use of the face as a means of expressing the subject has been inverted. Instead, the face has become an inert, stony object with little to communicate, leaving only the interior of the head to provide the viewer with meaning.” William’s artwork references previous pieces he has created during high school and university, which were inspired by his interest in psychology and the philosophy of consciousness. And there is always one: William admits that he completed the work on the day that it was due for the prize.
“I only found out about the prize roughly two weeks before entries closed. As a casual employee I was fortunate enough to get virtually no shifts during those two weeks, which allowed me to spend almost all of my time working on the artwork. From start to finish it probably took me roughly 10 to 12 days to complete the painting.” It was this lack of time that meant that William could not finish the acryclic piece with oil paints, which he says, “...would have allowed the smoother and richer finish I was after.” Also the son of an artist, William says he had feedback from his family, whose feedback he trusts to be genuine. And like most of the other artists, he says he only finishes a painting when he is exhausted. He explains the process: “I began my planning for the work after drawing a simple pencil sketch of a head bowed forward with fraying wires coming out of an open hole at the top of the head.
Once the concept came to me, I started painting the exterior of the head based on a photo of myself, but left the inside of the head blank as I was still unsure of what to put in it. The contents inside the head was the hardest thing to plan, as I wanted to communicate the idea of incomplete thoughts in the head, but I wasn’t sure of the best way to show this. I printed out a photograph of the painting as it was and cut out the circle which was still left blank. I then placed this cut-out print over many different images that I had printed out to see what combination worked. The images included printouts of circuit boards and abstract shape patterns. I finally decided on using a circuit board pattern that resembled the shape of the human brain. But even after painting this in, I realised that it looked too neat and perfect. I decided that taking out random vertical columns would achieve the look I was aiming for.”
“I found that doing this self-portrait for the Tasmanian Youth Portraiture Prize was a meaningful way to establish myself as a new Tasmanian.” The reason I have chosen myself as the subject of my portrait is to express how I have felt since ‘becoming a Tasmanian’ about two months ago. Coming from Gosford in NSW where I grew up, I wanted to express the feelings of uncertainty that I’ve encountered since being in a new State and city of Australia.
RESEARCHER OF THE MONTH Photo by Peter Vertigan
Betsy Island. Photo by BRUCE DEAGLE
What are all the birds doing on Wedge Island? Jaimie came to UTas via Monash University in Victoria to do an Honours year at IMAS. Prior to her arrival in Tasmania, she spent numerous weeks on remote offshore islands, such as Heron Island on the Great Barrier Reef and Kanowna Island in Bass Strait, watching birds and collecting data on their movement and behaviours for seabird conservation groups. She is currently doing an in-depth Honours project on Wedge Island off the Tasman Peninsula – looking at the short-tailed shearwaters which abound there. Most readers will know the shorttailed shearwaters as ‘muttonbirds’ which return to Tasmania to take up
Researcher: Jaimie Cleeland Institute of Marine and Antarctic Studies (IMAS), UTas BY KEVIN REDD
Wildcare is sponsoring Jaimie to assist in getting field research staff and volunteers onto Wedge Island
temporary residence on coastal dunes, offshore islands and other remote coastal areas to lay eggs and fledge their chicks. Some readers may even be aware of the vast number of shearwaters that are currently washing up on Tasmanian beaches. “We don’t actually know what causes these large seabird wrecks in Tasmania, although we hope to gain insight into these events by studying their breeding and feeding ecology,” Jaimie explains. The breeding population of adult shearwaters on Wedge Island has declined by 16% per annum over the past seven years
and such declines are often an indicator of change in our marine environment.
Photo by BEN ARTHUR
Jaimie is most interested in the foraging flights, diet and growth of these birds whilst they make their home in Tasmania. Even though Jaimie has worked with penguins, godwits, terns and oystercatchers, she explains why shearwaters are still her favourite, “These birds have the most amazing life history. Each year they migrate more than 16,000 km from their northern foraging grounds in Alaska and Siberia to breed on Wedge Island. Although the birds burrow here they forage as far as the Antarctic packice, often travelling more than 1 000 km in a day.”
Photo by Jaimie Cleeland
Photo by PETER VERTIGAN
Jaimie will be spending most of her spring and summer on Wedge Island with enthusiastic volunteers: weighing birds, measuring chicks, deploying data loggers on birds and taking blood samples. The overall
aim of the study is to continue the collection of important demographic data and to delve into other aspects of short-tailed shearwater ecology, foraging areas, diet and chick provisioning in order to better understand the underlying mechanisms of the population decline. Her project is ultimately about conserving the shearwaters and indeed protecting the whole ecosystem that they occupy. As Tasmania faces increasing pressures from fishing, tourism and the effects of the East Australia Current (EAC) bringing warmer waters further south and for longer time periods, it is important to understand as much as we can about how marine animals are adapting to these changes. The more knowledge we have of seabird populations in southern Tasmania, the greater our ability to protect them in the long term. Jaimie is proud to be a part of such an important project and she counts herself lucky to have the support from some really fantastic people at UTas.
Sunday 7 November, Tasmania Day, was a fabulous day for a BBQ so we invited a bunch of people to TMAG to enjoy a few burgers and help us celebrate all of the volunteers that make the TMAG the richly supported institution that it is. The Friends of TMAG, the TMAGgots, the Art Guides and the TMAG volunteers were present and received recognition from Director Bill Bleathman in a public ceremony. We celebrated our 5th birthday in style – with a maggot-shaped ‘number 5’ cake that would put the Women’s Weekly Birthday Cake Book to shame.
We also took the opportunity to thank outstanding members such as Glenn Mead, who has taken photos at almost every event for the past five years, as well as punched out thousands of badges to give away to TMAGgots, at no charge to us. We also gifted mentor and Chief Barbecutionist, David Coleman, with a Kaye Green print in recognition of five years of ongoing support. Then the Director and a number of other high-ranking staff members took the crowd on behind-the-scenes tours of the museum, which went down an absolute treat.
more recent events
TASMANIA DAY @ TMAG PHOTOS BY GLENN MEAD
HAPPY BIRTHDAY TO US!
recent events
OPEN AND OPEN PHOTOS BY GLENN MEAD
This year’s Open and Shut was renamed to reflect the terrific exhibitions we unofficially opened; C20 and Essence: Australian Prints and Drawings. Coordinating Curator of Art Jane Stewart and Curator of Decorative Arts Peter Hughes guided us through the stunning C20, which featured artists such as
Sidney Nolan, John Perceval, Arthur Streeton, Albert Tucker, Patrick Hall and Philip Wolfhagen. Sue Backhouse kindly showed us through the small but memorable Essence, which was drawn from the Tasmanian Museum and Art Gallery’s collection of contemporary Australian Art and includes recent acquisitions, such as Marco Luccio’s dynamic etching Spencer Street and the rooftop, as well as key
works by familiar Tasmanian artists such as Raymond Arnold and Lindsay Broughton, who was present to explain some of his processes. The scrumptious banquet kindly donated by local seafood heroes Fish Frenzy was snapped up just in time for me to make my quackenhanced address. Open and Open/Shut continues to be one of the TMAGgots’ hardest-hitting annual events.
MAGGOT of the month
FEBRUARY
Despite her Netherlandish name, ‘Godverdomme’ is the only Dutch word Anneke van de Vusse knows. It literally translates to “god damn it”, and this is how she feels when people ask her to speak in her native language. She grew up south of Hobart, drinks Cascade draught, shops at Vinnies and has been Rektangoing for nearly 10 years. To be more precise, nine years, because she spent last year in Scandinavia – dancing naked in moonlit snowflakes, with good-looking blonds. Her hand-knitted winter woollies are now hibernating in the garage while the Tassie December sun causes her ranga skin to burn and peel. Luckily this has not suppressed her enthusiasm for being outside and climbing mountains. This month, Anneke will graduate from UTas with a combined degree in Journalism and Graphic Design. She dreams of working in online radio and currently runs a photography/graphic design business in Hobart.
JENNY CALDER
The TMAGgots is run entirely by young volunteers. We thought it might interesting to highlight some of the work other young volunteers in Tasmania are getting stuck into. This profile was produced by Volunteering Tasmania in conjunction with a radio interview program involving local broadcaster Edge Radio (who are incidentally almost entirely run by young volunteers themselves).
By Jean Somerville-Rabbitt Most uni students spend time studying, making new friends and having lots of fun, but this wasn’t enough for Jenny Calder, who took up volunteering as a way to make a difference in her local community while she was a student. How did you get into volunteering? When I was studying Botany and Geography, I came across literature about many environmental problems currently facing the planet and I needed to act. I was going along to uni, having lots of fun and feeling like I wanted to be doing something more as I studied environmental studies. You read about all these problems and you think, “What can I do?”
I attended a sustainability conference in Melbourne where I found out what I could do to help. I met a bunch of amazing people who were just out there doing stuff and it really made me realise, who’s going to do stuff if not me? I have the power, I am empowered to go out and do stuff to make a difference, and the only step is to actually do it – so I came back home pretty excited about that.
On returning to Hobart, I helped set up the Tas Uni Enviro Collective which worked hard to encourage the departments of the university to use recycled paper and the coffee shops on campus to sell fair-trade products. We also decided to set up a food co-op on campus. After a large amount of time and energy being spent on the project, our dream was finally realised through Source Community Wholefoods (www.sourcewholefoods.org).
What is it like to be a volunteer? There were many challenges along the way, but my aim has always been to encourage students and community members to come together to discuss how they can actively work together to help our natural environment.
What do you get out of volunteering? I’m doing this because of the environment; it is one of the best ways to make a difference with our environment, by encouraging people to eat organic food and buy unpacked food. The Source project received funding from the Tasmanian Community Fund, the University of Tasmania and the Hobart City Council.
I have great ownership of this project and have huge personal investment as well, and that’s what keeps me going. I really believe in what I’m doing and now I’ve started, I’ve come this far I can’t stop, although I would like to step back at some point and see it take a life of its own. What does the future hold? In my spare time, I also enjoy WWOOFing (Willing Workers On Organic Farms). Many organic farmers allow volunteers to visit and stay on their properties and, in return for food and board, the volunteers work on the farms and in their gardens. It is a great way to meet people and travel. It’s just a great experience – you’re fed really good organic food and they usually live in beautiful spots. I went to one that had a swimming hole in the bush and you do the work in the morning that keeps you occupied, but then you can always talk to people and you learn lots.
What does Volunteering Tasmania have to say? Volunteering can take shape in a whole variety of different forms, whether helping out at a one-off event or via short-term or longerterm projects. Any contribution is equally valuable. People do feel positive about what they can give; the good thing with volunteering is that it’s not just about giving back to the community but there are all sorts of benefits to volunteering – it can be an opportunity for skill development or a stepping stone to work; it can be meeting new people and socialising; and it really is about making those connections in the community. To find out more or to get involved in volunteering in your local community go to: www.volunteeringtas.org.au.
volunteer profile
GET YOUR ART UTas School of Visual and Performing Arts in Launceston is once again hosting the Tasmanian Creative Arts Summer School from 10–21 January 2011 at the dynamic arts precinct of Inveresk Railyards. The Summer School is an amazing, exciting and stimulating arts environment for students of all ages in a world-class facility, where it is possible to work closely with highly respected teachers and arts practitioners in a vibrant and fun environment. Wouldn’t you like to spend a warm and wonderful week doing one of these? Recording studio, Photo by Robert Lewis
Summer School field trip, Photo by JEN DICKENS
Photo Labo, Photo by JEN DICKENS
BY KEVIN REDD
• • • • • • • •
Scriptwriting Street Art Musical Performance Ceramics Printmaking Culinary Design (featuring Tasmanian food and wine) Drawing Painting
ON THIS SUMMER! • • • • • • • • •
Sculpture Photography Digital Imaging Experimental Textiles Studio Glass Studies Improvisation Contemporary Dance Computers in Furniture Design Furniture Assault
Anyone over the age of 16 can enrol in one of these units and it is not necessary to be enrolled at the University presently. So what are you waiting for? Get your art shoes on and come to the Tasmanian Creative Arts Summer School 2011. Enrolments close 17 December.
Photo by MEGAN JOLLY
Jana Harper from the School of Art says that they have introduced a number of new exciting workshops for the 2011 program: “We now have Street Art: Graffiti and Public Intervention held by Hobart artist Jamin, and we are also bringing in new tutors from overseas and interstate to grace us with their knowledge and teaching expertise, like Valerie Bader who will be teaching a new workshop – Acting, Singing, Dancing: The Makings of Musical Theatre. Also, let us not forget our partner, Polytechnic Newstead Campus’ Rock Music Summer School.”
•
For further information please visit www.acadarts. utas.edu.au. If you would like to receive a Tasmanian Creative Arts Summer School booklet please telephone the Academy of the Arts on 03 6324 4400.
Summer at Island Shacks! In Tassie’s coolest coastal hideaways, Island Shacks are the ideal beachfront getaway. Holiday at peaceful Dennes Point on Bruny Island, or pristine Spring Beach on the East Coast – where we’ve released a third Eco Shack for rental, designed by award-winning Tasmanian architect, Maria Gigney. Go to www.IslandShacks.com, or find us on Facebook.
Photo by JEFF BUSBY
MONA – FOMA KYU
Drum roll please…MONA FOMA (MOFO), Hobart’s cutting edge Festival Of Music and Art is back for its third year.
It’s a mix of first-time appearances, festival favourites and exclusive one-off performances and it’s mostly FREE (!!). So here it is. A sneaky peak at the 2011 Festival line up:
From January 14–20 2011, MONA FOMA music curator Brian Ritchie will present an incredible array of massive and amazing music, dance, theatre, performance, and new media. And MONA curator, Nicole Durling, has once again pulled together some avant-garde art pieces that everyone (mostly) will love.
Philip Glass. (US) International musical genius. Amanda Palmer. (US) Composer/pianist/performer/ukulele basher and blogger. Ex front-woman in Punk Cabaret band The Dresden Dolls. Grinderman. Australian Rock and Roll Royalty: Nick Cave. Warren Ellis. Martyn Casey. Jim Sclavunos – raw, bawdy, verbose and unstoppable blues.
Above: Philip Glass Left: Balletlab Miracle
Jon Spencer Blues Explosion. (US) Alternative Rock trio – extroverted blues, rhythm and rap. BalletLab. Melbourne’s confrontational dance troupe premiering their completed trilogy: Amplification, Miracle and Above. Speak Percussion. A retrospective of massive scope: the story of percussive sound from the 1930s to today. Artistic geniuses aside, festival goers can expect to see some of MOFO’s favourite features return along with tonnes of fun, free and interactive elements – one of which may (or may not) be a giant, grown up, op-art jumping castle – sort of. MOFO will transform Hobart into a dizzying array of performances, workshops, lifestyle outlets, market stalls and cooking demonstrations.
–ISM Monanism will be the opening exhibition of the Museum of Old and New Art (21 January 2011). It contains David Walsh’s favourite works; the ones that represent him and present him to the world for its interest, outrage or indifference.
The vision for the Museum of Old and New Art is unconstrained by any desire to demonstrate artistic chronology, or by a neutral environment for the works. In fact, David hopes to provide a counterpoint to public galleries that are (and should be) warehouses of the history of art. MONA aims to shock and offend, as well as challenge, inform and entertain. This freedom is arguably MONA’s greatest virtue. In David’s own estimation his collecting is
obsessive. At MONA, he has the luxury of creating his ideal amalgam of everything he enjoys most in other museums he has visited around the world: a cross section of art that is driven by polemics as much as aesthetics. “I wanted a secular temple. A temple to gradualism and process rather than revelation and certainty”, he says, and as an atheist he unapologetically seeks to challenge faith as an excuse to avoid questioning religious beliefs. The contemporary collection started with a rarely seen and virtually unknown enormous work by Australian modernist, Sidney Nolan (1917 – 1992), along with historically important works by Arthur Boyd (1920 – 1999) and Charles Blackman (1928).
From the United Kingdom, the Young British Artists (YBAs) whose works never made it to Australia, in 2000, when Charles Saatchi’s now infamous Sensation exhibition was cancelled by the National Gallery of Australia: Jake and Dinos Chapman, Mat Collishaw, Jenny Saville, Mark Quinn, and even Damien Hirst. European artists include Wim Delvoye, Jannis Kounellis, Anselm Kiefer, Julius Popp, Pipilotti Rist, Erwin Wurm, and Jan Fabre. Marina Abramovic is also present. From the Americas: Jean-Michel Basquiat, Gregory Barsamian, Stephen J. Shanabrook, and Jenny Holzer, along with time-based works by Paul McCarthy and John Baldessari from the USA; Columbian Fernando Botero and Mexican Rafael Lozano-Hemmer. From Japan: Masao Okabe is doing a commissioned work.
MONA FAST FACTS Building cost: $75 million Estimated collection value: $100 million Museum Director: Mark Fraser Year David Walsh purchased the property: 1995
not just furniture BY DAVID ROBERTS
The Furniture Designers’ Association (FDA) is a not-for-profit organisation formed in Tasmania in 1995 by a group of both established and emerging furniture designers and designer-makers, with a mission to represent, develop and promote excellence in the professional practice of contemporary furniture design. FDA members include designers, designer-makers, design lecturers and teachers, with other members involved in retailing and associated fields. The FDA is committed to the development of the Tasmanian design sector, providing a network and information service to its members, and supporting the promotion of members’ products and design services through co-operative ventures such as exhibitions, and designed; made.
designed; made is a one-day outdoor display of Tasmanian designed and made furniture, jewellery, homewares, ceramics, glass and textiles. designed; made has been successfully held in the IXL courtyard since December 2008, but has now moved to the freshly revitalised Princes Wharf No. 1 forecourt area. Organised by the furniture designers association and held twice yearly (May and December), this open air design event allows a mix of established and emerging craft and design practitioners to come together in a public space to promote and market their work. We also see an exchange of ideas between both the design and broader community, that builds, supports and nurtures the art and design community within greater Hobart. The FDA’s designed; made project is a fine opportunity to support emerging designers and artisans.
The upcoming, December, designed; made will specifically include a number of first time and new practitioners, as well as feature displays from final year Tasmanian Polytechnic and UTas, Launceston and Hobart, design students, along with information about the courses. This will inform people about the breadth and quality of craft and design education in Tasmania. To ensure the highest quality of work on display, designed; made is curated by the organising committee and is limited to about 28 stands. Applications were sought from both the members of the FDA and the wider design community. The mix of stalls is selected to ensure a mix of design and craft practices, and always includes some of the best emerging designers and artisans. One of the highlights for visitors in the past has been the opportunity to engage with the makers one-on-one, discussing the design process and learning about the origins and ideas behind the work.
This is an event for anyone who appreciates high quality craft and design objects, as well as those who wish to encourage investment in the future of local designers through the purchase of Tasmanian designed and made products. •
designed; made the place where ideas and objects meet Sunday December 5, 2010” Open to the public, 10am–3pm Princes Wharf No 1 Forecourt.
Vale Since writing this article, David Roberts, who was an enthusiastic supporter of the TMAGgots, and of the arts in Tasmania, was unexpectedly and sadly taken from us. David said of a TMAGgots event once, “I don’t think I can say I have met so many inspiring people, in one place, in such short a time: ever.” You inspired many people, David, and you will be sorely missed. – Kelly
Bangles by JEMIMA BOYER
Contributors...
Glenn Mead’s parents always wondered whether adopting a child raised entirely by seals was the right move.
Kelly Eijdenberg is a graphic designer by trade, ninja TMAGgot by night.
Shaun Simon Delittle Wilson possesses all the integral qualities of a born leader, except followers.
AManda cromer takes part in anything that involves words, pictures and free food.
Kevin Redd is working on a PhD on southern rock lobsters and is also heavily involved in art, wine and writing grant applications.
Bec Harwood believes in all things bizarre, and would like to grow up to be a fairy who wears a pink tutu.
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