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Ellen Jantzen tribe  issue   22 3 Rodrigo Illarraga

the start of a beautiful journey....

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CAST Akin Cetin [cover & inside cover] Lucy Lepchani Cate Inglis Tomoe Ishida [back cover] Rose Packer Alan Summers Adrianos Sotiris Simon Raab Suzy Goodfellow Anthony Dortch Sheena She Richard Martin Delan Cookson Luca Loiudice Bethany W Pope Carl Kavadlo Lance Wyoming Polly Morwood

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collaborators & conspirators Mark Doyle Hope Grimson Glyn Davies Sarah Ahmad Rebecca Sharpe Helen Moore Emily Pickthall Marianne Jarvis Richard Thomas Christine Platt email [firstname]

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Artists have  given  permission  for  their  work  to  be  displayed  in  tribe  magazine.  No  part  of  this  publication  may  be   reproduced  without  the  permission  of  the  copyright  holder(s) If  you  would  like  to  contribute  art  or  articles  to  tribe  magazine,  then  please  send  us  an  outline  of  your  article  to  our   main  contact  email.  If  you  would  like  to  submit  your  artwork,  then  please  send  us  up  to  8  samples  of  your  work  to  the   submit  email. We  have  a  rolling  submissions  policy  and  accept  work  at  all  times  and  throughout  the  year.  Further  details  can  be   found  on  the  contact  section  of  our  main  website,  or  by  emailing  us  at: To  submit  work  directly: tribe  is  committed  to  working  with  creative  organisations  and  individuals,  to  help  promote  awareness  of  their  work,  to   promote  best  practice  and  collaborative  working.  If  you  would  like  to  work  with  tribe  then  please  contact  us,  we  would   love  to  make  a  connection.

ISSN: 2050-­‐2352

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8 tribe issue  22

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10 tribe  issue  22

Rachael Gallacher

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12 tribe issue  22

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14 tribe issue  22

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16 tribe issue  22

Cate Inglis

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Lucy Lepchani “I write because I need to, to stay sane and alive.” Interview by Richard Thomas

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Lucy Lepchani  is  an  award-­‐winning  poet,  writer,  educator  and  performer  living   in  Ashburton,  UK.  After  years  of  honing  her  craft,  raising  a  family  single-­‐ handedly,  and  dealing  with  the  various  pitfalls  of  our  society,  Lucy  has   produced  a  sterling  effort  for  a  first  collection  of  poems  in  the  shape  of   Ladygardens,  published  by  the  exciting  and  boundary-­‐breaking,  Burning  Eye   Books.  Ladygardens  is  a  welcome  vote  of  confidence  and  power  for  the  free-­‐ thinking  individual,  and  a  delight  to  absorb  in  its  literary  poignancy.  Richard   Thomas  caught  up  with  Lucy  to  find  out  more  about  her  debut  collection  and   the  ‘behind-­‐the-­‐scenes’  of  her  work.

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Could you  tell  our  readers  a  little  about  

My greatest  obstacles  have  not  just  been  

yourself -­‐  who  and  what  influences  your  

‘the pram  in  the  hall’  but  poverty,  as  I  

writing, and  what’s  the  writing  process   like  for  you?

became a  very  young  single  parent  after  a   marriage  broke  up.  Poverty  undermines  

I write  because  I  need  to,  to  stay  sane  and   alive.  As  a  child,  school  was  stifling  and  my  

ambition and  strangles  opportunities,  and   remember,  back  then,  there  was  no  tax  

parents were  puritanical  and  controlling,   and  writing  was  one  way  to  breathe  my   own  air,  to  own  my  own  space.  Even  now,  if   I  didn’t  write,  I  would  be  exceptionally   dysfunctional  or  disorientated  in  my  life.  I   write  about  whatever  happens  to  be   attracting  my  attention  away  from  the   ordinary  world  or  that  looks  particularly  

bleak. Surviving  in  the  world  as  a  single   parent  whilst  trying  to  make  life  both  stable   and  necessarily  experience-­‐rich  for  myself   as  well  as  my  children,  took  precedence.   Writing  was  something  that  had  to  fit  in   around  everything  else,  including   disappointing  relationships,  patriarchal  

illuminated within  it.  

society, and  my  own  self-­‐doubt.  

Since I  made  the  conscious  decision  to  ‘be  a  

But I  got  to  the  age  of  39  and  thought  ‘If  I  

writer’, that  is,  to  not  just  hide  it  away,  but   to  practice  the  craft  and  develop  my  skills   and  to  get  my  work  ‘out  there’  in   meaningful  ways  -­‐  I  have  been  influenced   by  many  teachers,  poets,  creatives  from   other  disciplines,  and  by  learning  and   understanding  various  creative  writing   methods. I  usually  start  with  a  draft  which  I’ll  work  on   through  many  transformations,  taking   months  or  years  to  completion.  Sometimes   a  phrase  or  whole  poem  will  arrive  by  itself,   take  shape,  and  get  out  at  an  open  mic   within  a  couple  of  weeks. I  understand  that  you  took  a  break  from   poetry  to  raise  your  children,  how  did  you   find  getting  back  into  it  -­‐  did  it  take  effort   or  was  it  something  that  happened   naturally?  Was  it  easy  to  find  your  poetic   feet  again?

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relief on  childcare  so  my  future  looked  very  

don’t do  it  now,  I  might  never  know,  and  all   those  bastards  would  have  won’.  So  I   decided  to  give  myself  a  year  and  write,   and  see  what  happened.  In  that  year  I  had   an  amazing  sense  of  having  ‘arrived’  in  my   own  life  at  last;  and  received  an   ‘honourable  mention’  in  a  short  story   competition;  so  I  gave  myself  another  year.   Then  I  won  first  prize  in  a  popular  poetry   competition  and  came  second  in  a  national   literary  competition,  with  a  short  story  that   was  published  by  Bloomsbury.  And  so  on.     Apples  and  Snakes,  who  are  the  leading   organisation  for  performance  poetry  in   England,  have  also  been  hugely  supportive,   booking  me  at  venues  and  providing   training  and  mentoring  as  well  as  job   opportunities. And  now  your  debut  collection  of  poems   ‘Ladygardens’  is  out  for  the  world  to  see  -­‐  

how did  writing  and  putting  together  the  

and expected  to  be  in  society  –  tell  me  

book come  about?

more about  this,  have  you  always  

My poems  seem  to  have  their  own  voices   that  nag  at  me  to  write  them,  arising  from  a  

focussed your  work  on  such  strong   Socialist  directions?

compulsion to  make  something  visible  that   has  been  overshadowed,  or  covered  up;  or  

Unless I’m  writing  about  landscapes  or   other  visually  lovely  things  –  yes,  I  suppose  I  

to convey  a  different  truth  to  that  which  is  

have. I  can’t  help  it.  I  think  I  was  born  a  

presented by  the  mainstream.  Perhaps  this   is  an  echo  of  my  childhood  need  for  air,  my  

Socialist. Redistribution  of  wealth;  giving   according  to  ones  means  and  taking  

adulthood struggle  for  space  and   representation.  And  sometimes  I  am  just  

according to  ones  need;  treating  all  people   as  equal  and  bowing  down  to  none;  these  

led along  by  the  loveliness  of  language  as  it  

tenets in  whatever  form  or  guise,  make  me  

appears out  of  my  own  pen,  or  as  it  lands   breathtakingly  on  my  screen.  I  love  letting  

feel connected  to  people  and  society,   rather  than  alienated  from  it.  

go and  witnessing  my  unconscious  mind   take  over  the  flow  of  words.  Sometimes  I  

The poems  about  women  have  been   especially  ‘lived  in’,  either  through  my  own  

hear flying  rhythms  that  I  have  to  pin  down   with  exacting  words,  and  am  vacant  in   conversations  until  I  do  so,  because  I  can’t   hear  much  outside  of  my  head.  Or  words   and  rhythms  arrive  together,  like  voices  out   of  nowhere.  If  I  don’t  write  them  down   quickly,  they  might  fly  past  and  never   return.  And  some  poems  are  self-­‐mocking,   or  foolish,  which  should  be  an  essential   exercise  for  all  poets  lest  we  disappear  up   our  own  artistic  bottoms.   Putting  ‘Ladygardens’  together  came  from   choosing  the  best  of  those  poems  I  have   written  in  the  last  three  or  four  years,   though  some  are  older.  My  editor/ publisher,  Clive  Birnie,  was  also  an  excellent   collaborator  with  the  final  product.

life or  those  close  to  me,  or  women  I  have   worked  with  in  the  past  within  a  domestic   violence  survivor  support  project.  Issues   and  events  associated  with  women’s   struggle  for  equality  –  even  notions  of  what   that  equality  might  look  like  to  different   women  –  are  too  often  under-­‐represented   and  misrepresented  in  mainstream,  in   online  media,  and  in  social  media,  and  in   conversation.  I  make  a  point  of  addressing   some  of  that  when  I  can. The  collection  is  named  after  a  poem  within   it:  Ladygardens,  a  list  of  metaphors  which   create  the  visual  image  of  female  sexual   organs,  implicitly  rather  than  explicitly;  and   identify  female  sexuality  in  the  context  of  

In reading  ‘Ladygardens’,  there  seems  to  

beautiful natural  phenomena,  rather  than   objectified  as  wank  stimulus;  and  as  high  

be two  strands.  One  strand  has  a  large   focus  on  our  political  and  social  climate,  

status within  the  same  Abrahamic  myths   that  usually  deride  female  sexual  nature.  

the other  on  how  women  are  perceived  

The word  Ladygardens  is  ridiculous,  

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The Importance  of  Being  a  ‘Dole  Scrounger’ Ernie’s  got  an  attitude  –  he’s  long  term  unemployed, they’re  going  to  cut  the  benefits  they  say  he  has  enjoyed for  too  long  -­‐  and  has  ‘scrounged’  from  those  who  pay  their  taxes, so  Ernie’s  income’s  going  to  fall  to  governmental  axes. But  Ernie’s  got  an  attitude,  and  no  qualifications  -­‐ school  was  dull  and  disengaging  and  he  didn’t  have  the  patience to  dot  the  ‘I’s  and  cross  the  ‘t’  s  and  sit  all  day  and  listen while  football  pitch  was  wide  and  green,  and  fish  in  rivers  glisten, and  nuts  and  berries  grew  on  trees,  and  roads  led  far  away, to  fantasies  of  azure  seas  far  brighter  than  our  British  grey. So  Ernie  learned  his  attitude  -­‐    and  that’s  a  disadvantage, his  intellect  is  razor  sharp,  his  wits  pit  with  advantage, and  he  sees  through  suspect  spectacle,  and  hegemonic  farce, saw  all  through  school,  divide  and  rule  constructing  class  in  every  class, he  sees  the  masters  and  the  slaves,  perceives  the  state  machine that  mashes  minds  to  sausage  meat  and  souls  to  might-­‐have-­‐been  -­‐ so  Ernie  values  attitude  -­‐  he  does  not  want  to  fit into  a  cog  just  like  a  cog  –  will  not  be  part  of  it. But  nuts  and  berries,  fish  and  seas,  cannot  sustain  or  be  obtained, he  has  to  find  a  way  to  play  the  system  at  its  game, for  Ernie’s  education  taught  him  how  not  to  belong, and  blind  to  its  own  blind  spot  never  learns  where  it  went  wrong. So  Ernie  says  his  health  is  poor,  his  back  is  dodgy,  racked  with  pain, he’s  got  depression  and  represses  tendencies  to  go  insane. He  cannot  sleep,  eats  poorly,  has  schizoid-­‐disordered  quirks, ironically  –  this  all  is  true  –  if  they  send  Ernie  out  to  work; and  they’re  going  to  legislate  a  way  to  take  away  his  choice, but  Ernie’s  got  his  attitude,  and  insight,  a  he’s  got  a  voice. So  now  you’ll  hear  him  on  the  lines  when  flying  pickets  join  the  shout, you’ll  hear  him  at  the  demo  when  they’re  trying  to  keep  the  Tories  out you’ll  see  him,  just  one  in  the  crowds  when  many  march  for  peace, you’ll  find  him  starting  new  campaigns  –  his  wonders  never  cease, he  is  an  artist,  and  a  poet,  a  philosopher,  he  writes  a  blog he’s  a  busker  and  a  hustler,  trying  to  find  the  clear  point  in  the  fog, you’ll  see  him  on  the  forums  putting  down  the  racist,  sexist  trolls  -­‐ it’s  time  this  nation  valued  all  the  work  done  by  some  on  the  dole: for  every  culture  needs  its  speakers,  shamans  and  creators, the  avant-­‐garde  and  visionaries,  movers  and  our  shakers, our  pickets  and  resisters  and  our  raging  rebel-­‐rousers, we  need  our  ragged  rebels  and  their  philanthropic  trousers! In  a  world  more  stick  than  carrot,  and  a  gap  between  the  rich  and  poor that’s  gaping  like  precipice  and  gripping  with  its  ugly  claw: we  need  our  Situationists,  our  resisters  and  our  braves: this  is  a  fact  of  life  as  long  as  masters  need  their  slaves. So  stand  up  for  those  with  attitude,  respect  those  wise  and  crazy  schemes. We’ve  seen  enough  of  nightmares,  please,  do  not  step  on  our  dreams.

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Against the  Coastguard  Cuts When  they  drag  the  lifeless  bodies  from  the  water, record  statistics,  choose  to  print  on  front  or  inside  page, it  will  be  somebody’s  mother,  wife,  or  daughter, or  a  father,  husband,  son  of  youthful  age. They  have  not  drowned  yet. Not  tumbled  overboard  by  backwash  of  a  wave, have  not  surfed  in  hidden  slipstreams  near  to  shore. Have  not  yet  breathed  that  element  becoming  briny  grave, nor  beached  where  sudden  tidal  gullies  pour. They  might  be  ourselves;  they  live  and  breathe  amongst  us, they  might  be  our  neighbours,  colleagues  or  our  kin, while  the  costs  of  Coastguards  are  measured  in  value against  the  debts  of  bankers,  fools  and  kings. These  are  the  facts. The  slashing  of  a  budget  for  some  saving of  something  more  important,  it’s  implied; as  future  tragedies  just  leave  them  waving, unsaved,  too  late,  and  so  betrayed,  will  die. This  is  the  truth. For  seas  are  unpredictable  and  ruthless and  undercurrents  complicate  the  risks, and  government  statistics  cruel  and  truthless when  their  dry  facts  are  compounded  by  the  mists, and  with  look-­‐out  station  windows  shuttered,  boarded, several  helicopters  grounded,  cutting  costs. And  how  much  cash  can  be  saved  and  recorded? And  is  the  price  worth  all  who  will  be  lost? No  it  is  not. Not  one  of  us  in  folly  or  misfortune, whilst  in  employment  or  in  leisure  and  by  fate deserves  to  flounder  while  the  coins  of  impunes are  recovered  in  some  ledger  of  the  State. Our  forebears  lived  and  died  so  that  the  Coastguard could  save  all,  without  favour,  without  preference  or  blame. The  arrogance  of  those  who  cut  the  Coastguard! A  curse  is  theirs.  They  choose  it  with  this  murder,  with  this  shame.

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amusing, saucy,  poetically/horticulturally  

The Importance  of  Being  a  Dole  Scrounger  

visual, and  ironic  all  at  the  same  time.  The  

speaks up  for  the  many  I  have  met  over  the  

poem reclaims  the  word  in  other  contexts.  

years, including  myself  at  times,  who  have   felt  utterly  defeated  by  what  Karl  Marx  

There is  also  a  championing  of  the   ‘average’  person,  praise  for  creativity  and   continually  fighting  against  what’s   fundamentally  wrong  in  our  world.  I  got  a   real  sense  of  liberation,  enlightenment   and  inspiration  to  be  true  to  myself  when   I  read  these  poems.  Was  this  a  feeling  you   were  trying  to  rouse  in  people  when   putting  this  book  together? Politics  is  about  power,  and  if  we,  the   average  people,  don’t  understand  or   attempt  to  engage  with  politics  in  our  lives,   then  we  defer  that  task  to  others  who  may   be  less  informed,  less  committed  or   competent,  and  less  honest  than  we  are.   Poetry  is  sometimes  my  best  attempt  at   that,  the  only  thing  I  can  do  to  exercise  my   political  power  on  a  matter;  sometimes  it  is   just  a  load  of  words,  and  some  other  action   or  lifestyle  choice  counts  more.   My  poem  Against  the  Lifeguard  Cuts  speaks   from  a  place  of  being  truly  aghast  at  the   potentially  murderous  ignorance  of  this  

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described as  ‘The  Alienation  of  Labour’,  and   what  others  might  call  ‘mental  health   issues  caused  by  having  to  participate  in  a   hegemony  that  negates,  exploits,  and   demeans  most  of  humanity’.  Some  people   don’t  have  jobs  because  they  have  been  let   down  by  the  system,  anywhere  from  early   childhood  to  their  current  moment,  and   deserve  better  opportunities  to  fulfil  their   human  potential  rather  than  have  it   crushed  further.  We  all  deserve  that.   Praise  for  creativity  obviously  sings  my  own   salvation,  but  as  a  teacher  of  creative   writing  and  poetry,  I  have  seen  some  of  my   students  find  this  same  or  comparable   saviour  in  their  own  selves.  Creativity,  in   whatever  art  form,  is  a  way  to  connect  with   our  true  humanity  and  to  repair  our  broken   selves;  and  through  this,  connect  with  each   other  across  all  differences. Burning  Eye  Books,  who  seem  to  be   making  strong  waves  in  the  literary  scene  

government, and  that  the  national  debt  be  

right now,  published  your  book  -­‐  was  

made out  to  be  more  urgent  than  a  call-­‐out   to  any  single  drowning  fisherman,  or  surfer,  

finding and  choosing  a  publisher  easy? No  and  yes.  I  knew  that  finding  a  publisher  

or tourist  on  a  beach.  I  wrote  it  in  the  style   of  a  speech  because  it  is  a  way  of  distilling  

for what  some  would  call  ‘performance   poems’  would  be  difficult.    I  approached  a  

the list  or  reasons  there  are  against  such  

literary sort  of  publisher  and  they  said  ‘not  

madness, and  the  torrent  of  rage  that   accompanies  these  if  I  don’t  distil  them.  So,  

quite our  thing’  which  many  performance   poets  have  told  me,  seems  to  be  a  stock  

rather than  just  rousing  an  audience,  it  is   also  a  way  of  making  personal  and  

reply. Many  (but  not  all)  superb   performance  poets  have  produced  their  

collective outrage  more  eloquent  and  

own books  and  recordings.  So  I  thought  


that seeing  my  own  collection  in  print,  may   never  happen  other  than  by  my  own  

efforts. Then  Jonny  Fluffypunk  showed  me  

see you  popping  up  over  the  next  few  

his excellent  poems,  beautifully  produced  


in ‘A  Sustainable  Nihilist’s  Handbook’  and   told  me  about  Burning  Eye  Books.  I  sent  my  

At Buckland-­‐in-­‐the-­‐Moor  Festival  on   August  24th;  plus  I  will  be  launching  

work to  Clive  Birnie,  the  editor,  and  had  a   most  encouraging  reply.

‘Ladygardens’ in  Ashburton  in  early   September  –    plus  more  gigs  currently  in  

And how  have  you  found  the  whole  

the pipeline.  For  details  about  any  of  these,  

publication process  and  the  relationship   between  poet  and  publisher?

do follow  me  on  Twitter,  or  Blogger,  or  my   website  at  –  all  easy  to  find  

Great. I  do  think  it’s  important  to  have  a   publisher  who  likes  your  work,  as  in  they  

if you  type  Lucy  Lepchani  into  the   appropriate  box.

enjoy or  relate  to  it,  rather  than  someone  

And Apples  and  Snakes  have  arranged  me  

who adheres  to  other  agendas.    Clive  is   clear,  organised,  quietly  enthusiastic,  and  

some mentoring  sessions  with  poet  and   performer/director  Hannah  Silva,  so  watch  

has great  aesthetic  sense.  He  stated  his   preferences  and  opinions  from  poems  I  

this space  for  a  new  spoken  word  project  in   the  future.

chose to  include,  but  gave  me  all  the  power  

And finally,  how  do  you  see  the  future  of  

to decide;  and  then,  even  after  I  disagreed   with  some  of  his  choices  and  made  my  own   decisions,  I  saw  that  he  had  been  right  –   particularly  concerning  overall  style.  A  good   editor’s  opinion  is  a  privilege  to  receive  –   I’m  glad  I  took  this  on  board.   Burning  Eye  Books  certainly  are  making   waves  –  some  poets  are  into  their  second   print  run.  The  strapline  on  their  website  is  

poetry? Some  say  it’s  the  arts’  dying   breed;  others  live  by  the  belief  that  it  can   change  the  world  -­‐  where  do  you  stand? Whoever  says  it’s  the  arts’  dying  breed,  isn’t   getting  out  to  enough  poetry  and  spoken   word  events.  And  whoever  lives  by  that   belief,  what  a  brilliant  and  meaningful  life  it   is.  <

‘Never Knowingly  Mainstream’  which  I  find   wickedly  funny,  every  time  I  think  of  it.  Yes,   Burning  Eye  Books  have  style!

Ladygardens is  available  from  Lucy’s  blog:  

What’s next  for  you  in  poetry  -­‐  do  you   have  plans  for  a  second  collection?

And from  the  Burning  Eye  Books:  

I’m currently  researching  for  a  book,  a  novel

based on  my  family’s  heritage  connections   with  India;  but  poems  just  happen.  They  are   arriving  with  tropical  butterflies  in  their   images,  with  birdsong  from  the  Himalayan   foothills  and  with  tears  in  their  eyes.   You’re  a  reputably  strong  performer  of   your  work,  where  can  people  expect  to  

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26 tribe issue  22

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28 tribe issue  22

Suzy Goodfellow

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Adrianos Sotiris “I have a world inside me. It is this that I try to process. And through this process, I learn lessons in self-knowledge. Sometimes I surprise even myself.”

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Where does  the  creative  process  start   for  you?

connection with  our  subconscious,  our   instincts,  or  our  actions.

From a  very  early  age  I  have  had  this   primitive  and  ancient  need  to  paint  and   to  make  sculptures.  I  remember  myself   when  I  was  very  young  making  things   out  of  my  imagination  -­‐  how  I  would  like   to  be,  or  imaginary  situations  which   took  me  on  journeys.  Sometimes,  I   decide  about  something  I've  thought  of   or  an  idea,  to  take  a  look  at  it  through   painting.  At  other  times  I  want  to   communicate  my  thoughts  to  whoever   sees  the  work.

I want  man  pure  for  what  he  is,  and  not   seen  in  the  light  of  the  transient  culture   which  we've  shaped.

Usually a  work  starts  out  from  my   reflections  on  something,  or  something   that  I'm  looking  for  in  it. I  have  a  world  inside  me.  It  is  this  that  I   try  to  process.  And  through  this  process,   I  learn  lessons  in  self-­‐knowledge.   Sometimes  I  surprise  even  myself.  What  are  the  main  influences  on  your   work? I've  always  been  interested  in  space-­‐ time,  recently  in  quantum  physics,  the   primary  instincts  of  man  and  nature,   death,  the  female  sex,  and  -­‐  above  all  -­‐   light. Your  work  has  elements  of  the  classical   and  the  fantastical  placed  in  a  modern   context.  How  would  you  describe  the   subject-­‐matter  of  your  paintings? What  I  usually  want  from  my  works  is   that  they  should  be  stripped  of  all   material  and  superfluous  objects  of  the   age  in  which  we  live  which  have  no  

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What should  good  art  convey? Art  has  many  roles  -­‐  decoration,   propaganda,  imitation  -­‐  even   entertainment. But  I  think  its  chief  role  is  the  search  for   the  soul,  of  what  we  are  and  of  the   world  around  us. Contemporary  art  is  a  very  divisive   subject  -­‐  where  do  you  see  your   medium  of  painting  in  oils  in  the   modern  world  of  art?  Do  oils  still  have   the  cultural  power  to  shock,  challenge,   or  enlighten  to  the  same  degree  as   they  used  to? In  painting,  when  you  attempt  to   capture  light  and  colour  by  means  of   paint,  you  cannot  help  but  be  classical.   But  it  doesn't  cease  to  be  the  way  the   eye  sees  and  the  mind  perceives.  It  is   this  that  makes  us  simultaneously  the   same  and  different  people.  Over  and   beyond  the  beautiful  work  of  art,  we   have  to  do  with  the  revelation  of  what   we  are  through  painting.  Some  people   perhaps  think  that  photography  has   supplied  the  need  that  art  once  did,  but   we  wonder  at  and  learn  from  painting   and  sculpture  of  the  palaeolithic  age,   down  to  the  ancient  Greek:  50,000  BC  to   2,500  BC. Here  I'd  like  to  mention  the   protosculpture  of  Macedonia,  with  its  

age estimated  at  around  700,000  years,   which  raises  all  kinds  of  questions. Two  thousand,  five  hundred  years  of   painting  (given  that  we  learn  from  Pliny   the  Elder  that  the  ancient  Greeks  had   painting  and  trends),  and  that's  without   including  cave  paintings  -­‐  and  suddenly,   within  the  space  of  a  century,  we  write  it   all  off?  I  believe  that  we  are  creating   new  kinds  of  art  (we're  not  replacing  the   old).  I  believe  that  in  the  future,  some   works  will  belong  in  museums  of   decoration,  museums  of  modern  art,   museums  of  architecture,  museums  of   painting,  etc. Painting  and  sculpture  are  the  only  -­‐   direct  -­‐  process  which  makes  us  human,   whereas  the  other  electronic  media   (admirable  as  they  are)  are  products  of   technology  over  time  and  industrial   progress. In  any  event,  painting  as  cubism  and   surrealism  has  left  it  has  not  ceased  to   be  a  cerebral  game. *  Not  to  mention  Faraday,  who   discovered  electro-­‐magnetism  and  is,   effectively,  the  father  of  today's  media.   He  wasn't  a  professional  mathematician   or  physicist,  but  he  was  very  good  at   drawing.  It  was  through  this  skill  at   drawing  that  he  recorded  his   observations  and  experiments.

their metaphysical  character,  and  a   socio-­‐political  angle  has,  in  part,  entered   into  them.  That's  bad,  from  one  point  of   view,  for  art,  but  in  the  times  in  which   we  live  ... Has  the  Internet  and  digital   technology  changed  the  way  you   engage  with  audiences? The  Internet  has  just  replaced  the  old   mail  and  has  made  art  more  accessible   through  the  net  and  social  networks. But  the  fact  is  that  you  still  need  your   feet  for  seeing  art. How  do  you  see  your  role  as  an  artist? My  role  is  to  be  myself,  purely,   uninfluenced,  and  always  to  seek  after   the  truth. And  in  this  way,  people,  by  studying  and   getting  to  know  artists,  can  learn  things   about  themselves.  What  are  you  currently  working  on   and  what  does  the  future  hold  for  you   as  an  artist? My  latest  obsession  was  reflections  -­‐   and  now  telecommunications,   television,  and  global  consciousness.      

How has  the  arts  scene  in  Greece   changed  since  the  economic  troubles   began?  Has  it  had  any  impact  on  your   work? Prices  have  certainly  taken  a  downturn.   In  my  case,  my  works  have,  in  part,  lost  

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Από πού  ξεκινά  η  δημιουργική  διαδικασία   για  σας  ; 'Εχω  απο  πολύ  μικρός  αυτή  τη  πρωτόγονη  και   αρχαία  ανάγκη  να  ζωγραφίσω  ή  να  φτιάξω   γλυπτά.  Θυμάμαι  τον  εαυτό  μου  απο  πολύ   μικρό  να  κάνω  πραματά  της  φαντασίας  μου,   πως  θα  ήθελα  να  είμαι  ή  φανταστικές   καταστάσεις  που  με  ταξίδευαν.  Μερικές   φορές    κάτι  που  σκέφτομαι  ή  μια  ιδέα,   παίρνω  την  απόφαση  να  το  δώ  μέσω  της   ζωγραφικής.  Αλλες  φορές  θέλω  να   επικοινωνήσω  τις  σκέψεις  μου  σε  όποιον  δεί   το  έργο.   Συνήθως  ένα  έργο  ξεκινάει  απο  τον   προβληματισμό  μου  πάνω  σε  κάτι  και  την   αναζήτηση  μου  σε  αυτό. Μέσα  μου  έχω  ένα  κόσμο.  Αυτό  προσπαθώ   να  επεξεργαστώ.  Και  μέσα  από  αυτή  τη   διαδικασία  παίρνω  μαθήματα  αυτογνωσίας.   Μερικές  φορές  και  εγώ  ο  ίδιος  εκπλήσσομαι   από  τον  εαυτό  μου. Ποιές  είναι  οι  κυρίως  επιρροές  στο  έργο   σας  ; Πάντα  με  απασχολούσε  ο  χωροχρόνος  ,  το   τελευταίο  καιρό  η  κβαντική  φυσική,  τα   πρωτογενή  ενστικτα  του  ανθρώπου  και  της   φύσης,  ο  θάνατος,  το  γυναικείο  φύλλο  και   ποιό  πολύ  απο  όλα  το  φώς. Το  έργο  σας  έχει  στοιχεία    κλασσικά  και     φανταστικά  τοποθετημένα  σε  ένα  σύγχρονο   πλαίσιο.  Πως  θα  περιγράφατε  το   περιεχόμενο  των  έργων  σας  ; Αυτό  που  θέλω  συνήθως  απο  τα  έργα  μου   είναι  να  είναι  απογυμνωμένα  απο    υλικά  και   περιττά  αντικείμενα  της  εποχής  μας  τα  οποία   ουδεμία  άμεση  σχέση  έχουν  με  το   υποσηνείδητό  μας,  τα  ένστικτα  μας  ή  της   πράξεις  μας.

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Θέλω τον  άνθρωπο  καθαρό  για  αυτό  που   είναι  και  όχι  μέσα  απο  το  πρίσμα  του   πρόσκαιρου  πολιτισμού  που  έχουμε   διαμορφώσει. Τι  θα  έπρεπε  να  μεταδίδει  η  καλή  τέχνη  ; Η  Τέχνη  έχει  πολλούς  ρόλους,   διακοσμητικούς,  προπαγανδιστικούς,   μιμητικούς  ακόμη  και  διασκεδαστικούς. Αλλά  νομίζω  ο  κυρίως  ρόλος  της  είναι  η   αναζήτηση  της  ψυχής  ,  του  τι  είμαστε  και  του   κόσμου  γύρω  μας   Η  σύγχρονη  τέχνη  είναι  μιά  υπόθεση  που   διίστανται-­‐  που  βλέπεται  τη  ζωγραφική  σας   με  λάδι  στο  σύγχρονο  κόσμο  της  τέχνης  ;   Εχει  το  λάδι  ακόμη  τη  κοινωνική  δύναμη  να   ταρακουνήσει,  προκαλέσει  ή  διαφωτίσει   όπως  συνίθιζε? Στη  ζωγραφική,  όταν  προσπαθήσεις  να   πιάσεις  το  φώς  και  το  χρώμα  δια  μέσου  της   μπογιάς  δε  θα  μπορέσει  παρά  να  είναι   κλασσικό.  Αλλα  δε  παύει  να  είναι  ο  τρόπος   που  βλέπει  το  μάτι  και  αντιλαμβάνεται  ο   νούς).  Αύτο  είναι  που  μας  κάνει  ταυτόχρονα   τόσο  ίδιους  και  διαφορετικούς.    Πέρα  απο   τον  όμορφο  πίνακα  τέχνης  έχουμε  να   κάνουμε  με  την  ανακάλυψη  του  τί  είμαστε   μέσω  της  ζωγραφικής.  Μερικοί  ίσως  νομίζουν   πως  η  φωτογραφία  κάλυψε  την  ζωγραφική   όμως  θαυμάζουμε  και  μαθαίνουμε    ακόμη   από  ζωγραφικη  και  γλυπτά  παλαιολιθικά,  έως   και    αρχαιοελληνικά.  50.000  χρονια  π.Χ.έως   2.500  χρόνια  π.Χ.  Εδω  θα  ήθελα  να  αναφέρω  για  τον   φιλότεχνο  και  το  πρωτόγλυπτο  της   Μακεδονίας  το  οποίο  χρονολογείται  γύρω   στα  700.000  πΧ.  (Protosculpture  of   Macedonia  with  its  age  esnmated  to  be   around  700,000  years  old.)  το  οποίο  γεννά   όλλων  των  ειδών  τις  ερωτήσεις.

2500 χρόνια  ζωγραφικής  (δεδομένου  απο   τον  Πλίνιο  τον  πρεσβύτερο  ότι  οι  Αρχαίοι   Ελληνες  είχαν  ζωγραφική  και  ρεύματα)    ,  για   να  μη  συμπεριλάβω  και  τη  ζωγραφική  των   σπηλαίων    και  ξαφνικά  μέσα  σε  ένα  αιώνα   τα  καταργούμε?      Πιστεύω  πως  απλά   δημιουργούμε  νέα  είδη  τέχνης  (δεν   αντικαθιστάμε  τα  παλιά)  Πιστεύω  στο   μέλλον  κάποια  έργα  θα  ανήκουν  σε  μουσεία   διακόσμησης,μουσεία  μοντερνας  τέχνης,   μουσεία  αρχιτεκτονικής,    μουσεία   ζωγραφικής  κ.α.

Εχει αλλάξει  το  διαδύκτιο  και  οι  ψηφιακές   τεχνολογίες    το  τρόπο  που  διαδράτε  με  το   κοινό;

Η ζωγραφική  και  η  γλυπτική  είναι  η  μόνη  -­‐ άμεση-­‐  διαδικασία  που  μας  κάνει   ανθρώπους,  ενώ  τα  υπόλοιπα   (αξιοθαύμαστα  μεν  )  ηλεκτρονικά  μέσα     είναι  προιόντα  χρόνιας  τεχνολογικης  και   βιομηχανικής  προόδου.

Ο ρόλος  μου  είναι  να  είμαι  εγώ,  καθαρός,   ανηπηρέαστος  και  να  αναζητώ  πάντα  την   αλήθεια.

Εξάλλου δε  παύει  η  ζωγραφική  όπως  την   άφησε  ο  κυβισμός  και  ο  σουρεαλισμός  να   είναι  ένα  εγκεφαλικό  παιχνίδι. *Για  να  μην  αναφέρω  τον  Φαραντέυ,  που   ανακάλυψε  τον  ηλεκτρομαγνητισμό  και   ουσιαστικό  πατέρα  των  σημερινών  media,  ο   οποίος  δεν  ήταν  επαγγελματίας   μαθηματικος  ή  φυσικός  και  ήξερε  πολύ  καλό   σχέδιο.  Μέσω  αυτής  της  ικανότητας  του   σχεδίου  του  κατέγραψε  τις  παρατηρήσεις   του  και  τα  πειράματά  του.

Διαδίκτυο έχει  αντικαταστήσει  τον  παλιό   ταχυδρομείο  και  έχει  κάνει  την  τέχνη  πιο   προσβάσιμες  μέσω  των  κοινωνικών   δικτύων. Αλλά  το  γεγονός  είναι  ότι  χρειάζεστε  ακόμα   τα  πόδια  σας  για  να  δει  την  τέχνη. Πως  βλέπετε  το  ρόλο  σας  ως  καλλιτέχνη;

Και έτσι  ο  κόσμος  μελετώντας  και   γνωρίζοντας  τους  καλλιτέχνες  μπορεί  να   μάθει  πράματα  για  τον  εαυτό  του. Σε  τι  δουλεύετε  τώρα  και  τι  σας   επιφυλλάσει  το  μέλλον  ως  καλλιτέχνη; Τελευταία  εμμονή  μου  ήταν  με  τον   προβληματισμό  και  τώρα  τηλεπικοινωνίες,   την  τηλεόραση  και  την  παγκόσμια   συνείδηση.

Πώς έχει  επηρεάστει  η  Ελληνική   καλλιτεχνική  σκηνή  από  τις  απαρχές  των   οικονομικών  προβλημάτων  ;  Είχε   επιπτώσεις  στο  έργο  σας; Οι  τιμές  σίγουρα  έχουν  πάρει  το  κατήφορο.   Εμένα  προσωπικά  τα  έργα  μου  έχουν  χάσει   εν  μέρη  τον  μεταφυσικό  χαρακτήρα  τους  και   έχει  μπεί  εν  μέρη  μια  κοινωνικο-­‐πολιτική   γωνία.  Κακό  από  τη  μία  για  τη  τέχνη  και  τον   ύψιστο  σκοπό  της,  αλλά  στους  καιρούς  που   ζούμε..

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Adrianos Sotiris­‐Sotiris

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Luca Loiudice & Alberto Gubernati

The collaboration  between  Luca  Loiudice  and  Alberto  Gubernati   began  in  2008  and  the  aim  of  their  project  is  to  mix  some  creative   disciplines  such  as  drawing,  painting,  scenography  and  performance   all  together  through  photography.  Behind  each  artwork,  there  is  a   long  and  complex  mechanism,  and  times  of  preparation  in  the  most   of  cases  cannot  be  shorter  than  2-­‐6  months  for  a  single  photo.   Ideations  of  structures,  painting,  drawings,  shapes  and  all  stage   elements  are  by  Luca  Loiudice.  Use  of  lights  and  photography  by   Alberto  Gubernati.  Concepts  and  subjects  by  Loiudice/Gubernati. The  first  idea  of  our  project  was  to  relate  some  oil  paintings  with  a   model  who,  coming  out  from  the  paintings,  became  an  integral  part   of  the  painting  itself  and  the  scene,  as  in  EP2412,  where  we  treat  the   theme  of  the  birth.  As  in  The  dangerous  game  of  a  reckless  puppet   showman,  in  which  a  puppeteer  has  to  do  with  a  princess  and  where   everything  is  placed  in  a  theatrical  setting.  The  basic  concept  later   changes  bringing  the  subjects  in  wider  settlements  as  in  the  third   picture  of  the  series,  TSP1.  Here  the  set  has  been  done  painting  the   walls  and  the  floor  of  an  abandoned  factory.  The  picture  was  made   for  a  brand  new  song  of  a  band  of  Turin  entitled  You,  The  Stars.  TSP1   introduces  a  new  element  in  the  series:    the  play  of  lights  made  with   fire  which  will  be  recreated  in  the  future  using  the  candles  in  other   photos  such  as  The  DT  Book.    As  regards  this  picture  there  is  a   curiosity:  the  set  was  built  entirely  using  just  pencil  and  Bic  pen.  The   scene  shows    a  girl  who  is  dreaming  what  she  is  reading  in  the  book   that  holds  in  her  hands  .  Other  photos  as  Nature  Vs  Technology  and   Snow  HY29  are  a  return  to  the  original  idea  (using  natural  spaces  as   natural  sets)  though  placed  in  public  spaces.  Tetris  continues  the   process  that  began  with  The  DT  Book,  namely  to  make  large   settlements  made  entirely  by  hand  using  small  paintbrushes.  About   the  last  two  works:  The  bunny  and  the  deer  comes  back  to  the  idea  of   the  music  band  of  TSP1.  In  here  there  is  a  more  playful  intent   (transmitted  through  the  masks  the  two  elements  of  the  group  was   wearing)  and  in  The  spaceman  (which,  as  Tetris,  is  accompanied  by  a   stop  motion  video  documenting  the  full  work)  the  set  is  becoming   increasingly  rich  in  details  and  stage  elements.

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La collaborazione  tra  Luca  Loiudice  e  Alberto  Gubernati  nasce  nel   2008  con  l’obiettivo  di  mescolare  alcune  discipline  artistiche  come  il   disegno,  la  pittura,  la  scenografia  e  la  performance  tutte  insieme   attraverso  la  fotografia.  Dietro  ogni  lavoro  c’è  un  lungo  e  complesso   meccanismo,  ed  il  tempo  per  realizzare  una  singola  foto  nella   maggior  parte  dei  casi  non  può  essere  inferiore  ai  2-­‐6  mesi.  Le   ideazioni  delle  stutture,  i  disegni,  la  pittura,  ciò  che  riguarda  le  forme   e  gli  elementi  di  scena  sono  di  Luca  Loiudice.  Le  fotografie  e  l’uso   delle  luci  per  realizzarle  sono  di  Alberto  Gubernati.  I  concetti  e  i   soggetti  delle  foto  sono  concordati  insieme  (Loiudice/Gubernati).   L’idea  iniziale  del  nostro  progetto  era  di  mettere  in  relazione  dei   dipinti  ad  olio  con  una  modella  che,  uscendo  dal  dipinti  forati,   diventava  parte  integrante  del  dipinto  stesso  e  della  scena,  come  in   EP2412  in  cui  trattiamo  il  tema  della  nascita  e  del  parto.  Come  in  The   dangerous  game  of  a  reckless  puppet  showman,  in  cui  un  burattinaio   è  in  relazione  con  una  principessa  e  in  cui  tutto  ciò  è  inserito  in  un   ambiente  teatrale.  Il  concetto  di  base  successivamente  cambia  per   portare  i  soggetti  in  ambientazioni  più  ampie  come  nella  terza   fotografia  della  serie,  TSP1,  realizzata  dipingendo  i  muri  ed  il   pavimento  di  una  fabbrica  abbandonata.  La  foto  è  stata  realizzata   per  il  lancio  di  un  singolo  di  un  gruppo  musicale  di  Torino  intitolato   You,  the  stars.  Con  TSP1  viene  introdotto  un  elemento  nuovo:  il  gioco   di  luci  realizzato  con  il  fuoco.  Questo  gioco  di  luci  sarà  riproposto  in   futuro  utilizzando  delle  candeline  in  altre  fotografie  come  The  DT   Book,  di  cui  la  scenografia  è  stata  realizzata  nella  parte  verticale   interamente  a  matita  a  penna  bic.  La  scena  mostra  una  ragazza   immersa  in  una  scena  che  rappresenta  ciò  che  lei  stessa  sta  leggendo   nel  libro  che  ha  tra  le  mani.  Altre  fotografie  successive  come  Nature   Vs.  Technology  e  Snow  HY29  sono  un  ritorno  all’idea  di  base  seppur   inserite  in  spazi  pubblici.  Con  Tetris  continua  il  percorso  iniziato  con   The  DT  Book,  cioè  quello  di  realizzare  scenografie  di  grandi   dimensioni  completamente  realizzate  a  mano  tramite  un  piccolo   pennellino.  Negli  ultimi  due  lavori,  The  bunny  and  the  deer  (che   ritorna  all’idea  della  band  di  TSP1,  seppur  realizzata  con  un  intento   più  giocoso  trasmesso  attraverso  delle  maschere  da  coniglio  e  da   cervo  che  indossano  due  elementi  del  gruppo)  e  The  spaceman  (che   come  Tetris,  è  accompagnato  da  un  video  in  stop  motion  che   documenta  il  lavoro  completo)  le  scenografie  diventano  sempre  più   ricche  di  dettagli  e  di  elementi  di  scena.      

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Simon Raab “The grenade is psychotic in a way. It can be good and bad. Disruptive ideas are well symbolised by the grenade.” Interview by Mark Doyle

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Where does  the  creative  process  start   for  you?

closed volume  for  a  sculpture  or  on  a   wood  frame  as  a  wall  piece.  

The creative  process  usually  begins  with   an  emotional  or  intellectual  response  to   something  that  happened  in  my  day,   which  is  either  current  or  historical.  I  tend   to  think  in  images  and  concepts,  so  these   responses  often  suggest  some  imagery,   which  leads  to  some  conceptual  sketches.

I try  to  get  the  look  of  “through  water”  by   using  specially  formulated  translucent   paints  which  have  to  be  adherent  to  the   metal.  I  use  aluminum  when  I  want   smoother  softer  surface  profile.  The   deformation  of  the  metal  has  now   become  an  additional  palette.  Rough   water  and  smooth  water  create  different   aesthetic  responses.  I  can  produce  this   effect  by  the  frequency  and  sharpness  of   the  surface  deformations.  This  is  like   affecting  the  brush  stroke  and  is  critical   to  the  mood  of  the  Parleau  piece.   Stainless  steel  has  a  colder  color  and   bends  with  sharper  angles  and  hence  is   better  at  communicating  certain  moods.

Can you  talk  us  through  your  workflow  -­‐   what  materials  do  you  use  and  why  do   you  use  them? I  work  in  a  new  medium  called  Parleau   which  derived  from  the  French  term  ‘par   l’eau’  for  “through  water”.  I  have  always   been  mesmerized  by  light  and  water  and   sought  out  a  medium  that  provided  the   same  abstraction  and  intensity  of  color   along  with  a  sense  of  the  always-­‐ changing  and  living  nature  of  moving   water. I  developed  a  variety  of  painting   techniques  and  materials,  which  I  apply   to  stainless  steel  and  aluminum.  I  was  in   search  for  a  technique,  which  allowed  me   to  deform  the  coated  metals  without   cracking  or  flaking  off  the  painted  image.   I  paint  the  images  with  numerous  layers   of  different  polymers  such  as  epoxy,   polyurethane  and  acrylic,  all  adhered  to   the  metal.  The  polymers  are  designed  to   be  translucent  allowing  the  metal  to   create  a  stained  glass  feel  through  the   reflected  light.  My  experience  in  surface   physics  and  artificial  joint  implants   provided  the  technical  know-­‐how   necessary.  Once  the  image  is  complete  I   deform  the  metal  by  hand  and  then  by   various  metal  forming  tools  as  either  a  

The Parleau  method  is  unique  and  was   recently  granted  a  US  patent,  one  of  very   few  patents  in  an  art  medium.  I  applied   for  the  patent  and  trademark  more  as  a   stunt  to  criticise  the  industrialisation  of   art  and  branding. Has  the  internet  and  digital  media   changed  the  way  you  work?  Has  it   changed  the  relationship  with  your   audience  or  the  way  people  engage   with  your  art? I  find  that  the  internet  and  digital  media   has  contributed  in  a  number  of  positive   ways.  In  the  past  we  would  have  to  rely   on  dealers  and  fairs  to  get  in  front  of   people.  Today  we  go  directly  through  a   variety  of  social  media  and  we  can   interact  on  an  individual  or  group  level   around  certain  interests.  Available   imagery  is  also  exploding.  One  can  find   images  on  every  conceivable  idea,  I  find   this  very  inspiring  and  thought-­‐

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provoking. The  unfortunate  downside  of   this  onslaught  of  information  is  that  we   see  just  how  many  talented  artists  exist.  It   can  be  a  little  overwhelming. You  say  that  you  identify  with  the   symbol  of  the  grenade,  as  an  agent  of   both  creativity  and  destruction.  Is  art  a   constructive  or  destructive  process  for   you?   The  grenade  is  psychotic  in  a  way.  It  can   be  good  and  bad.  Disruptive  ideas  are  well   symbolized  by  the  grenade.  Explode  the   old  conventions  and  introduce  new  ideas.   Disruptive  thinking  can  be  anarchic  and   destructive  but  it  can  also  be  evolutionary   and  revolutionary  in  the  best  sense  of  the   words.  The  symbolism  of  shrapnel  is  also   powerful  for  me.  A  good  idea  can  stick  in   your  head  like  a  piece  of  shrapnel   demanding  to  be  remembered,  annoying   persistent  and  impossible  to  ignore.  The   grenade  is  also  conflicted  in  imagery   because  it  is  a  cute  egg  like  toy-­‐shaped   bundle  of  death  and  disruption.  Parleau  is   very  much  a  constructive  destructive   process.  A  polished  flat  metal  surface  is   lovingly  prepared  and  painted  with   multiple  coats  of  polymer  to  create  a   desired  image.  Then  in  a  horrifying  and   destructive  effort  it  is  ruthlessly  crushed   and  hammered.  The  original  image,  which   is  the  product  of  hours  of  careful  work  is   irrevocably  destroyed.  In  the  mounting   and  sculpting  process  I  try  to  recover  the   image.  What  I  find  is  an  image  aged,   transformed,  infused  with  a  lifetime  of   experience  which  projects  its  new   character  with  metallic  flashes  and   motion. Does  art  still  matter?  Has  the  art  world   become  too  alienated  from  the  general   public  as  a  medium  for  social  and   political  comment  and  challenge?

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Factory art,  found  objects,  decorative  art   markets  and  political  cartoons,  network   comedy  and  satire,  and  popularization  of   graffiti  have  contributed  mightily  to   conventional  art’s  loss  of  gravitas  as  a   medium  for  social  reform.  The  visual   nature  of  media  and  the  barrage  of   information  have  combined  to  leave  art  as   a  last  refuge  for  pure  aesthetics  rather   than  yet  another  place  for  inciting   change.  The  prices  and  publicity  around   the  most  currently  famous  artists  and   their  work  further  alienate  the  thinking   socially  conscious  class  which  is  now  pre-­‐ occupied  with  the  internet  blogs  and  news   feeds.  The  gallery  system  of  approved   artists  and  limited  access  has  also   alienated  the  transformational  and   nurtured  the  purely  decorative. People  are  news-­‐issue-­‐exhausted  in  my   opinion.  I  am  beginning  to  think  that   mindless  aesthetics  may  be  what  people   need  as  a  place  to  escape  this  exhaustion.   In  other  words,  the  job  of  the  social   activist  artist  has  become  much  more   difficult.  How  does  one  provide  a  place  of   aesthetic  peace  and  at  the  same  time   communicate  a  socially  important   position?  I  for  one  am  experimenting  with   ways  to  do  just  that. What  inspires  you?  Where  do  you  draw   your  ideas  for  a  piece  from? Current  events  and  conflicts  in  the  context   of  history  inspire  much  of  what  I  do.  I  have   a  deep  politics  of  personal  accountability.  I   am  angered  by  monopolies.  Disgusted  by   unjustified  wars  fought  for  egotistical   reasons.  Mortified  by  injustice.  I  am  a   deep  believer  in  privacy,  the  inalienable   rights  of  man,  the  excesses  of  organized   religion  and  sociopathy.  My  series  “From  

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Behind These  Bars”  speaks  of  personal   accountability  and  the  commitments  we   make  to  ourselves  and  others.  The  “For   The  Love  Of  War  -­‐  When  Nothing  Else   Turns  You  On”  series  was  motivated  by   my  personal  disgust  with  how  often  the   lives  of  thousands  are  lost  to  the  glory  of   war  fought  for  the  egos  of  individual   men  or  the  egos  of  a  nation  caught  up  in   nationalistic  righteousness. Most  of  my  influences  are  writers  and   scientists.  The  individualist   transcendentalist  philosophies  of   Emerson  and  the  writings  of  Balzac,  in   particular  his  “La  Comédie  humaine”,   figure  strongly  in  my  fascination  with   people  and  their  emotional  and  political   relationship  with  society  and  freedom.   The  great  scientists  and  scientific   philosophers  also  provide  me  great   inspiration.  Scientists  and  scientific   philosophers  such  as  Archimedes,   Lucretius,  Newton,  Einstein,  Gauss,   Planck,  Darwin,  Euler  and  Hamilton   among  so  many  others  motivate  my   work. And  what  is  the  link  between  the   scientist  and  the  artist  in  you? I  did  change  professionally  from   scientist  to  artist  but  I  have  always  made   art.  As  a  young  man,  an  artistic  family   surrounded  me.  My  mother  painted   mystic  landscapes,  and  my  uncles  and  

aunts were  sculptors,  writers  and   designers.  I  loved  working  in  wood  and   metals  at  an  early  age  but  changed   medium  throughout  my  education  as  I   learned  different  methods,  including   glass  blowing,  welding,  coating  etc.  So   my  scientific  and  artistic  careers  evolved   together.  With  respect  to  science  as  an   art  form  I  am  in  the  unique  position  to   be  able  to  state  that  the  creative   processes  and  imperatives  are  very   similar  for  engineering  and  art.  The   demand  for  elegance,  efficiency  in   message  and  function,  the  mix  of   media,  all  require  the  same  cognitive   abilities.  Art  and  science  are  similar   because  they  both  rely  on  accidental   discovery.  Like  art,  science  is  often  the   search  for  knowledge  with  no  practical   purpose.  Pure  science  like  art  is  about   the  aesthetics  of  knowing  our  world  and   expressing  our  feelings  about  this  world   to  no  particularly  practical  end  except   knowing.    What's  next  for  you?  Where  would   you  like  to  take  your  art  next? I  am  beginning  a  large  multicomponent   Parleau  that  will  study  the  theme  of  art   and  money  and  their  eternal   partnership.  <

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Tomoe Ishida Love Letters To Glasgow “I am female, live in Osaka, Japan. I want to be an artist based in Glasgow, because I really love Glasgow. So I'm writing love letters to Glasgow. These are A4 paper cut with coloured paper collage.”

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Tomoe Ishida

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Akin Cetin “I believe every country has it’s own light.” Interview by Mark Doyle

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Where does  the  creative  process  start  for  you? My  creative  process  is  based  on  observation  mostly,  the  first  process  of   everything  I  do  starts  with  cinema.  I’m  impressed  a  lot  by  the  directors   whose  work  I  like,    independent  movies  and  asian  cinema. What  do  you  like  about  shooting  with  film  stock  as  opposed  to  digital? I  like  the  texture  of  analogue,  collecting  negatives  and  development   process  of  the  film.  Also  I  have  the  limit  of  36  frames  and  this  disciplines   me.  While  taking  photographs  with  analogue,  even  1  frame  is  important  for   me.  I  believe  every  country  has  it’s  own  light.  I  don’t  like  the  light  of  the   country  I  live  in,  and  when  that  light  unites  with  digital,  it  doesn't  satisfy   me. Your  work  has  a  very  intimate  feel  to  it  -­‐  your  35mm  work  looks  like   photographs  that  have  been  discarded  and  then  found  -­‐  like  lost   memories.  How  would  you  describe  your  35mm  work? It’s  hard  to  be  explained  by  me.  It  would  be  like  the  mother  who  talks  about   her  child  all  the  time. Is  your  film  making  (video  work)  an  extension  or  progression  of  your   photographic  work?  What  does  film  making  mean  to  you  as  a  creative? There  would  be  a  similarity  as  it’s  visual,  but  no,  it's  not  an  extension.  When   taking  a  photograph  I  think  about  the  moment,  frame  of  it,  I'm  a  formalist   mostly,  but  in  video  it's  not  like  that,  there  must  be  a  unity  in  all.  In   photography  you  can  put  a  meaning  to  1  frame,  but  in  video  it's  not  like   that,  the  thing  you  want  to  express  is  closed  to  interpretation  mostly.  But  I   like  to  leave  it  open-­‐ended,  open  to  interpretation.  Maybe  there  can  be  a   similarity  between  this,  leaving  both  open  to  interpretation  makes  me  get   interesting  feedback.

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Can you  tell  us  about  your  Scan  work? I’ve  started  my  Scan  work,  as  I  found  my  mom’s  photographs/documents/ letters  etc.  from  childhood.  I  wanted  to  collect  and  keep  all  of  these,  the   first  thing  came  to  my  mind  is  to  scan  and  gather  all  in  a  PC  folder. And  I  did  so,    I  gathered  and  scanned  the  files,  documents,  photographs   that  I  had  and  I  didn’t  even  guess  it  would  be  cared  that  much,  but  I  became   happy  when  I  saw    it’s  loved.  Now  I  have  a  more  interesting  plan  about   scanning,  it  excites  me  a  lot. What  role  does  photography  have  in  modern  society?  How  has  digital   technology  impacted  on  our  view  of  photography?  Has  digital  been   good  or  bad  for  photography? I  want  to  tell  this  with  an  actual  example.  Recently  –  still  continues  –  in  my   country,  the  facist  attitude  of  the  government  provoked  the  people  to   rebellion.  I’m  also  one  of  the  protestors.  Prime  minister,  wanted  to  destroy   the  trees  in  the  center  of  here  Taksim  Gezi  Park,  to  make  a  shopping  center.   People  protested.  And  the  media  made  broadcasts  supporting  completely   the  government,  even  irrelevant  broadcasts.  Many  people  was  not  aware  of   the  goings-­‐on.  For  example,  tear  gas  and  plastic  bullets  which  are   prohibited  to  use  against  civillians,  are  used.  Then  by  the  help  of  some   social  media  sites,  Turkey  united,  people  became  the  media  itself.  Everyone   was  going  to  the  resistance,  taking  their  cameras  and  video  cameras  with   them,  photographing  and  recording  the  facist  attacks  of  the  police.  Ruined   by  the  gases  used  on  us,  we  were  going  back  home  and  turning  back  to  the   social  media,  seeing  what  police  did  more  closely,  reuniting,  and  the  crowd   was  getting  bigger  day  by  day.  I  understood  the  effect  of  photography  over   the  people  more  with  this. I  want  to  explain  this  from  my  point  of  view,  I’m  talking  about  a  decision,   not  comparing.  As  a  person  who  doesn’t  like  digital  photography,  it  makes  a   burden  on  my  mind  which  I’m  not  able  to  describe.  No  excitement  remains   against  the  photograph.  With  just  one  button,  you  get  high  definition   photographs.  You  don’t  get  anything  tactile  that  you  can  keep.  There’s  no   difference  between  the  fish  in  the  aquarium  and  digital  photography,  you   can’t  hold  and  caress  both.  As  I  said,  I  never  compare,  mine  is  a  choice.  But  I   can  say  that;  I  think  digital  photography  contributes  to  photography,  with   the  help  of  digital  photography  instant  photographs  reach  people  at  that   exact  moment,  no  need  to  develop  the  film,  cheaper  and  fast. What  do  you  have  planned  next?   I’m  into  collage  lately.  I’m  thinking  about  doing  some  work  in  this  area.   Something  between  scannning  and  collaging.  <

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Anthony Dortch

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Christine Platt The Passion for Abstraction

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Alison Rossiter

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The art  in  Toronto  is  diverse  in  medium,  style  and  

about Paul-­‐Emile  Borduas,  Jean-­‐Paul  Riopelle,  

approach. Many  critics  and  academics  have  tried  

Claude Tousignant,  the  Painters  Eleven  

to define  the  local  scene  and  largely  they  agree   that  it’s  defining  characteristic  is  its  diversity.  

(especially Jack  Bush)  or  please  read  Abstract   Painting  in  Canada  by  Roald  Naasgard.  

Nevertheless, certain  movements,  however   incongruous  they  may  be,  can  be  teased  out.  In  

Several contemporary,  established,  Canadian  

Toronto, the  most  notable  art  trend  which  I  have  

artists have  been  working  continuously,  although  

seen since  arriving  two  years  ago  is  abstraction.  In   fact,  over  the  past  five  years,  in  all  the  cities  I  have  

not necessarily  exclusively,  in  abstraction  for   decades,  including  Michael  Snow,  Robert  Youds,  

visited (Amsterdam,  Eindhoven,  Rotterdam,   Berlin,  Paris,  Edinburgh,  Glasgow,  Istanbul,  

James Carl  and  Stephane  La  Rue.  Remarkably,   these  artists  continue  to  produce  new  abstract  

Beijing, Hong  Kong,  Boston,  Havana,  Montreal,  

works with  both  technical  skill  and  intellectual  

Toronto), I  have  not  seen  a  city  with  as  interesting   and  varied  abstract  art  as  I  have  seen  in  Toronto.  

fervour, which  Torontonians  clearly  love.  Only  a   few  months  ago  the  Museum  of  Canadian  

This includes  art  being  produced  by  Toronto-­‐born   artists,  those  works  produced  in  Toronto  by  non-­‐

Contemporary Art  exhibited  Michael  Snow’s   latest  works  in  which  abstract  colour  blocks  on  a  

local artists  and  those  brought  from  other  

screen reacted  to  the  viewers  eyes.  Soon  after  

Canadian cities  to  Toronto  to  fulfill  the  taste  for   abstract  art  in  the  city,  as  evident  in  the  number  

David Armstrong’s  intriguing  abstract  metal   sculptures  were  paired  with  Louise  Bourgeois’  

of Canadian  abstract  artworks  sold  and  shown  at   local  galleries.  The  works  are  shown  in  all  the  

abstract, iconic  “personages”  sculptures.  Robert   Youds  latest  show  of  abstract  paintings  at  Diaz  

variety Toronto  is  known  for:  in  commercial  and  

Contemporary Gallery,  in  which  Youds  stamped  

public spaces,  in  a  variety  of  mediums  and   materials,  to  varying  degrees  of  abstraction  with  

large slabs  of  wood  onto  canvas  and  then  painted   fading  colour  blocks  strategically  across,  

hugely different  inspirations  and  connections  to   the  past.  

garnered significant  attention  from  both   collectors  and  critics.  James  Carl’s  unforgettable   solo  show  of  abstract  sculptures  made  from  

These artists  come  by  this  trend  honestly,  as   historically  artists  in  Canada  have  worked  quite  

coloured window  blinds,  entreating  you  to   imagine  yourself  huddled  inside,  recently  closed  

independently and  effectively  in  this  style.  This   may  come  as  a  surprise,  as  few  Canadian  

at Diaz  Contemporary  Gallery.  And  Stephane  La   Rue’s  geometric  forms  on  bent  paper  from  last  

abstractionists have  made  it  into  the  “Western”  

year were  just  put  on  display  in  the  TD  bank  

art canon.  Nevertheless  they  worked  at  the  same   time  as  the  European  and  American  

building. Every  one  of  these  shows  were   refreshing  in  their  use  of  abstraction,  from  new  

abstractionists and  many  continued  thereafter.   For  a  quick  history  lesson,  I  suggest  you  read  

undergirding concepts  to  different  techniques   and  materials.  

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Vessna Perunovich

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Alex Fischer

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Daniel Hutchinson

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In addition  to  these  established  artists  are  new  

Ceramic Museum  successfully  created  abstract  

artists in  the  field  of  abstraction.  In  fact,  the  

ceramic sculptures  from  the  foam  surrounding  

current group  show  at  Angell  Gallery,  devoted  to   abstractionists,  nods  to  the  importance  of  the  

contemporary consumer  products,  making  us   question  uses  and  value  of  things.  The  Royal  Bank  

movement in  Toronto.  In  the  show  you  can  see   Vessna  Perunovich’s  piece  made  of  plastic  ties  

of Canada  Painting  Competition  finalists  included   two  Torontonian  abstract  painters,  Neil  Harrison  

arranged with  nails  in  a  wheel  formation.  It  is  

and Scott  Everingham  and  the  winner  from  

abstract in  form,  but  conceptual  in  nature  as  it   looks  almost  like  barbed  wire  and  the  ties  in  this  

Vancouver, Colleen  Heslin,  was  also  an  abstract   painter.  In  fact,  there  has  been  at  least  one,  if  not  

arrangement remind  one  of  their  use  to  bind  the   hands  of  prisoners  in  war.  Daniel  Hutchinson’s  

more, abstract  painters  short-­‐listed  for  the  award   every  year  of  its  existence.    There  are  countless  

pieces from  his  Painting  for  Electric  Light  series  

other abstract  artists  working  and  showing  in  

are wholly  different  works,  geometric  forms  and   waves  painted  in  black  with  colored  lights  shone  

Toronto, which  I  have  not  named  in  this  article.   Many  of  them  are  also  worth  following,  and  

upon them  to  create  a  dance  of  form  and  colour.   Derek  Mainella  has  flatly  painted,  untitled  

undoubtedly contribute  to  the  excitement  and   fervour  around  this  movement  in  the  city.  

canvases with  tears  across  them  in  ordered  and   seemingly  unordered  fashion;  each  work   producing  a  visceral  response.  Down  the  street  

Through the  diversity  of  medium,  form,  concept   and  practice  of  these  artists,  abstraction  in  

one finds  the  works  of  Alex  Fischer  at  O’Born   contemporary.  These  mixed-­‐media  abstract  

Toronto offers  a  freshness  of  perspective  on   abstract  art  and  an  exciting  burst  of  energy  in  

works, especially  the  collage  works  made  with  

pushing the  boundaries  of  abstract  art  as  it  has  

photoshop, dip  into  the  psyche  to  a  place  that  is   at  once  familiar  and  yet  unrecognizable.

previously been  defined.  <

Other current  artists  working  exceptionally  in  

Christine Platt

abstraction include  Janet  Jones,  with  her  techno-­‐ sublime  works  abstracted  from  the  city  and  our   current  urban  reality  of  obscenely  rushing  from   bright  lights,  work  and  parties  into  the  dangerous   vortex  of  meaninglessness.  Alison  Rossiter,   showed  at  Stephen  Bulger  Gallery  recently  with   her  photographs  made  from  early  20th  century   film,  developed  and  arranged  to  elicit  diverse   intellectual  and  emotional  responses.  An  Te  Liu,   who  just  had  an  exhibition  at  the  Gardiner  

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Derek Maniella

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Sylwia Kubus Delan Cookson

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White Dust  Ghosts  –  a  series  of  haiku  poems waking  the  kraken this  irregular  sonnet of  men  and  angels childhood  kiss the  shadow  of  gypsophila in  the  wheel blue  sky  rain the  sunshine  leaks from  pavements leaves  begin  to  fall  this  face  too  evolves  from  fish bomber  moon– all  those  hiding  places within  you hee,  ba,  coo,  sha even  the  name  suggests  peace Nagasaki  anniversary

There are  people  who  survived  the  atomic  bombings  of  Hiroshima  and Nagasaki.  In  Japanese,  the  atomic  bomb  survivors  are  known  as  Hibakusha, some  are  still  alive  and  share  their  experiences  in  the  hope  of  peace  and the  abandonment  of  nuclear  weapons.    This  is  the  68th  anniversary  of atomic  bombing  on  Nagasaki,  August  9th  1945 Alan  Summers

Alan Summers  lives  in  Bradford  on  Avon,  England,  and  runs  With  Words,  which  provides   literature,  education  and  literacy  projects,  as  well  as  online  courses  often  based  around   the  Japanese  genres.    He  is  a  co-­‐editor  for  Bones  Journal  (contemporary  haiku),  and   Special  Feature  Editor  for  Lakeview  International  Journal  of  Literature  and  Arts.    His   latest  collection  Does  Fish-­‐God  Know  contains  gendai  haiku  and  short  verse  published   by  Yet  To  Be  Named  Free  Press,  with  a  forthcoming  book  titled  Writing  Poetry:  the   haiku  way.

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Illustration by  Rose  Packer

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The Minister In  essential  things  my  father  will  only  go  so  far, Never  speaking  beyond  a  certain  acceptable, Credible  depth.  As  children  he  told  to  us  of Real  events  I  transcribed  for  school,  papers  ending,  'it's  tru'. Even  so,  he  was  careful  to  wrangle  the  monsters, Devils  inhabiting  the  flesh-­‐masks  of  men.  These Incredible  lives  he  lived  through  and  dreaded, Babies  the  size  of  a  bean  he  baptized  by  hand,  with Loving  would-­‐be  mothers  weeping  and  bloody  in  beds.  I Expect  such  stories  estranged  him  from  all  of  us. How  could  you  sleep  with  a  brain  brimming  with  memories  of Ordinary  skin-­‐slip  warping  the  features  of  the Wounded,  born-­‐dead  thing  you  saved  for  Alpha-­‐Omega? In  essential  things,  my  father  will  only  go  so  far. Bethany  W.  Pope

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somewhere on  myrtle  avenue somewhere  on  myrtle  avenue near  palmetto, a  garden  of  weeds behind  a  faded  silver  chain  link fence,  an  empty  log with  the  wind  blowing  cold and  drunks  propped  against narrow  doors.  puerto  rican teenagers  in  the  street. a  mcdonalds,  east, rancid  coffee  for  50  cents  a  cup, my  meal to  feast  on  -­‐ these  features  of exotic  urban  bohemia. i  suppose  flowers  are  a  relative  picture. i  stare at  all  my  wild  roses. Carl  Kavadlo Carl  Kavadlo  is  a  poet  and  short  story  writer.    His  short  stories  have  appeared  in  the  Long   Island  University  Muse,  Rusty  Typer,  Mad  Swirl  and  Loch  Raven  Review.    His  poems  have   appeared  in  Erato,  Stained  Sheets,  Rogue  Scholars,  Brownstone  Poetry,  Clockwise  Cat,   Flutter,  Mobius,  Loch  Raven  Review,  Mad  Swirl,  Miriam’s  Well,  Amphibius  and  others.  He  has   recently  become  a  contributing  poet  in  Mad  Swirl’s  Poetry  Forum.    He  lives  in  Brooklyn,  NY,   with  his  wife.

Illustrations by  Polly  Morwood

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Sheena She

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Cup 1. Kent set  his  coffee  cup  down  on   the  table,  and  dipped  in  the   small  wooden  stirrer  in  search  of   the  drink’s  vanishing  point  -­‐  that   is  to  say,  the  depth  at  which  the   tip  of  the  stirrer  or  spoon   becomes  lost  in  the  blackness  of   the  coffee.  Doing  so  allowed   him  to  gauge  without  sipping   the  approximate  strength  of  the   coffee  based  on  the  amount  of   the  stirrer  left  wet,  not  unlike   assessing  the  depths  of  an   uncharted  ocean  with  knots  on  a   rope.  It  was  for  this  reason  why   he  often  made  the   unconventional  choice  of  a   china  cup  with  a  disposable   stirrer.  The  vanishing  point  came   between  a  third  and  a  half  of  the   stirrer’s  entire  length.  This  was  a   good  balance,  enough  to  stave   off  a  headache  and  boost  his   wakefulness  without  pushing   him  into  an  all-­‐out  caffeine  high.   He  lifted  the  cup  and  began  to   sip. As  soon  as  he  had  drawn  in  his   first  mouthful,  his  momentary   peace  was  disturbed  by  a   bizarre,  high-­‐pitched  wailing   noise.  Unsettled  by  this  sound,   he  set  the  cup  back  down  on  the   table  and  scanned  the  room  for   a  possible  source.  The  coffee   shop  around  him  did  not  seem   to  have  noticed  the  noise.  As  he   scanned  the  room,  he  saw  

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hipsters with  headphones   staring  intently  at  tablets.   Middle  aged  couples  locked  in   intense  conversation.  The   teenage  girl  at  the  counter   battling  through  espresso   machine  steam  to  deliver  the   next  latte,  the  next  cappuccino. By  this  point,  Kent’s  mind  had   wandered  away  from  the  noise,   and  he  lifted  the  cup  again  to  his   lips.  The  noise  came  again,  less   as  a  wail  this  time,  and  more  as   a  panicked  yelp.  The  sort  of  yelp   one  might  expect  from  an   unconscious  patient  waking  up   to  the  sight  of  an  IV  being   ripped  out.  The  sort  of  yelp  one   might  expect  from  a  caged   animal  in  a  lab  experiment   discovering  that  their  food  was   electrified.  It  came  with  such   force  that  it  startled  him  into   dropping  his  cup  onto  the  table,   where  it  fell  lopsided,  spilling   much  of  the  coffee. The  cafe  continued  on  unfazed.   Neither  the  yelp  nor  the  thud  of   china  onto  the  laminate  table   had  broken  through  the  surface   noise  of  the  room.  He  watched   As  the  coffee  cascaded  across   the  table  and  dripped  over  the   edges  and  onto  the  floor.  He   watched  the  cup,  now  on  its   side,  rolling  across  the  table   until  its  handle  hit  the  surface,   at  which  point  it  stopped  and   began  slowly  rolling  in  the  other   direction.  He  was  not  prepared   for  what  he  saw  on  the  cup’s  far   side.

As the  cup  rotated  further,  it   revealed  a  face.  A  face  frozen   into  an  expression  of  bug-­‐eyed   shock,  as  if  in  disbelief  of  its   surroundings.  It  began  to  speak.   It  spoke  slowly  and  weakly,  but   with  a  timbre  matching  the   yelps  and  wails  of  before. “what...  ...the  fuck...” He  leaned  in  closer  to  the  cup,   his  attention  undivided.

more confident  than  before.  Still   quite  high  pitched,  but  no   longer  wavering  or  broken  by   excessive  gaps.  Perhaps  this  was   because  it  was  now  totally  full. The  girl  from  the  counter  had   seen  the  spill,  and  was   approaching  the  table  with  a   handful  of  paper  towels.

“just... ...happened?”

“You better  not  tell  her  that  this   was  my  fault”,  said  the  cup.   “Everybody  wants  to  blame  it  on   the  cup”.

He picked  up  the  now  empty   cup  and  set  it  again  upright  on   the  table.

The girl  was  at  the  table.  “Is   everything  alright  here?”,  she   asked  as  she  began  to  clean  up.

“I feel...  very...  ...dry”,  it   continued,  its  eyes  still  glazed   over.

“My cup  is  talking  to  me”,  Kent   replied.

It paused  for  a  moment,  as  if  to   compose  itself.  After  some  time   in  silence,  it  fixed  its  gaze  upon   him. “refill?” 2. Kent  ordered  another   Americano  at  the  counter,  this   time  in  a  disposable  cup.  He   brought  it  back  to  his  desk,  and   decanted  the  drink  into  his   original  cup.  You  know,  the  one   with  the  face.  The  one  that   could  talk. “Don’t  sneak  up  on  me  like  that.   I  hate  it  when  people  sneak  up   on  me”,  it  said.  Its  voice  was  

“Oh, that’s  just  Wyatt.  Such  a   drama  queen”,  she  said  as  she   mopped  the  coffee  from  the   table. “He’s  new  here.  Still  hasn’t  quite   adjusted  to  the  way  we  do   things.  It’s  a  problem  we  tend  to   have  with  some  of  the  wild  cups   we  bring  in.  Of  course,  it’s  more   humane  to  the  cup  than  having   them  made  in  a  factory,  all   doped  up  and  atrophied  like   battery  hens,  but  they  can  be   hard  work” “Excuse  me?” “A  lot  of  these  cups,  you  know,   they  just  don’t  want  to  be   tamed.  They  grow  accustomed   to  the  wild,  it’s  all  they’ve  ever  

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known. All  they  ever  like  to  do  is   just  sit  outside,  get  loaded  up   with  espresso  and  meditate  on   their  fullness  until  they  grow   cold.  Then  they  empty   themselves  out  and  do  the  same   again.  It’s  such  a  waste,  isn’t  it?   A  waste  of  a  life,  not  to  mention   of  a  perfectly  serviceable  cup.   But  some  of  them  like  it  like   that.  They  don’t  like  the   structure  of  a  working  life.  They   can’t  acclimatize  to  being   dormant  for  hours  upon  hours   each  day,  and  then  suddenly   going  from  full  to  empty  to  full   again  to  empty  again  once  the   shop  opens.  And  the   dishwasher!  Well,  some  of  them   can  handle  it  and  some  of  them   can’t.  For  some  it’s  bliss,  they   love  to  feel  clean  and  refreshed   and  ready  for  another  long   workday.  And  for  others,  it’s   their  hell.  A  claustrophobic  bad   trip  that  seems  to  last  forever.   I’ve  had  to  put  some  of  them   into  their  own  cupboard,  with   sponge  walls  to  muffle  the   sound  of  screaming.  Night   terrors  -­‐  the  machine  sets  them   off,  endless  nightmares  about   drowning,  night  after  night.  A   few  nights  away  and  they  calm   down,  get  a  grip  and  learn  to   sleep  in  peace,  but  then  they  get   dirty  and  they  need  to  be   washed  again.  Sure,  I  could   hand-­‐wash  the  troublesome   ones,  but  why  reward  the  least   functional,  least  productive  ones   with  all  that  extra  care  and   attention?  If  anyone  deserves  a   hand-­‐wash,  it’s  the  most  docile   ones.  The  ones  that  hold  their  

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liquid well,  enjoy  the  machine   and  don’t  disturb  anybody  at   night.  And  they’re  already   happy  doing  what  they’re  here   to  do,  so  what  would  be  the   point  in  that?” “Yes”,  Kent  replied,  “I  suppose   that  would  be  a  waste”. Over  the  course  of  the  last  few   minutes  a  queue  had  developed   at  the  counter.  The  girl  returned   there  to  begin  serving  again. Kent  sensed  that  things  were   running  the  risk  of  becoming   awkward.  He  sat  there  and   stared  at  Wyatt,  who  stared   back  in  an  unblinking  silence. “It’s  cool”,  Wyatt  said  after  some   time.  “I  won’t  freak  out  this   time”. Kent  raised  the  cup  again,  and   began  to  sip.  As  he  drank  the   coffee,  he  heard  from  Wyatt  not   a  yelp,  but  a  whisper. “You  have  to  get  me  the  fuck   out  of  here”. “I  bet  he  says  that  to  everyone”,   Kent  thought  to  himself. Lance  Wyoming  of  Wander  as   Ghosts

Illustration by  Polly  Morwood

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Sheena She

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106 tribe issue  22

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108 tribe issue  22

Richard Martin

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(c) 2013 tribe magazine

Profile for Mark Doyle

Tribe Issue 22  

Featuring: Akin Cetin, Lucy Lepchani Cate Inglis, Tomoe Ishida, Rose Packer, Alan Summers, Adrianos Sotiris, Simon Raab, Suzy Goodfellow Ant...

Tribe Issue 22  

Featuring: Akin Cetin, Lucy Lepchani Cate Inglis, Tomoe Ishida, Rose Packer, Alan Summers, Adrianos Sotiris, Simon Raab, Suzy Goodfellow Ant...

Profile for markdoyle