Raw Ink Magazine – June 2012

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art | design | music | writing | creative | culture

magazine

In this Issue: Liana finds out more about local clothing brand Devillain Ruth talks about the Lichtenstein exhibition heading to Brisbane

brisbane gold coast tweed coast Issue 10, June 2012

www.rawinkmagazine.com

THE RAW INK TEAM

Roxy Coppen

Graphic designer and editor. roxy@rawinkmagazine.com www.monkeywingdesigns.com

Ruth Dunn

Journalist. ruth@rawinkmagazine.com

Liana Turner

Journalist and photographer. liana@rawinkmagazine.com www.liana-anitra.tumblr.com Cover photography by

Penny Bennett Feature graphic design work by

Penny Bennett

www.pennycbennett.wordpress.com

Hey reader, Well, it’s been an interesting month for us. I guess that’s what you can call it. A lot of running around like mad men trying to finish off the first semester of UNI... but yet we still have time to put some articles together for you to read :) We’d like to take this oppotunity to give a big THANKYOU to Penny for helping to put this issue together. We love you! Isn’t her cover just amazing? :) Once again, if you know of any creative events happening in your local area, or would like to contribute to the magazine, feel free to send us an email to: roxy@rawinkmagazine.com Don’t forget to like us on Facebook and follow us on our Twitter-tweets.

We’ll see you next month.

From,

The Raw Ink Team xx www.rawinkmagazine.com www.facebook.com/rawinkmagazine.com www.twitter.com/rawinkmagazine.om

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contents Making with a 4 ‘Film Twist....or Two’ Ruth Dunn of Sam:Art & Fashion 12 ‘Son Collide’ Ruth Dunn. Pics:Adam Creed

20 ‘Gus Eagleton’ Wilkinson’ 30 ‘Lara Liana Turner

with Skull 52 ‘Hide’nSeek Cap’ Ruth Dunn

60 ‘Devillian’ Liana Turner say hello to Roy 62 ‘Brisbane, Lichtehstein’ Ruth Dunn 3

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What could be more exciting than gettingtogetherwithsomematesand creating a film for the big screen? I bet the prospect of creating this film for the world’s largest time based film makingcompetitionintheworldwould get your blood pumping. Oh and by the way, you’ve got 48 hours to make it.

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This year the 48 Hour Film Project returned to Brisbane for a hectic weekendpumpedfullofmoviemaking adrenalin. As well as only having 48 hours to script, shoot and edit their movie, filmmakers were given a genreandthreerequiredelementsto incorporate into their film.

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At the Kick Off event a team member from each group spun a wheel to randomlyselecttheirgenre,whilealot ofpositiveandnegative‘ohhhhhhhhhs’ and some celebratory noises that can’t quite be replicated came from theaudience.Allteamsthenreceived thesame prop (cork screw), character

Brisbane 48 Hour Film Project Kick Off 7

time;creatingtherightlighting,getting the right camera angles, costuming, makeup,bloopers…andthencomesthe editingasfilmmakersfightthelooming deadline.

On the eve of Sunday the 15th of April it was time. Tired, excited,

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nervous,andinsomecasessurprisingly awake,teamsclimbedthestairsofthe Thought Fort in Fortitude Valley to drop off their creations. After this, theirfilms were subjected to judging fromindustryexperts,includingwriters, producers and directors.

Fox contestant or The Vixen), and line Asa(The previous inthe project The The awards wordsand ‘mass screening exodus’nights cometo were mind. of dialogue (‘My doctor says I’m not David Beirne, co-producer of the held at Event Cinemas in the Queen supposed to do that’).

Brisbane 48 Hour Film Project, said Street TheyMyer say time Centre flies where whenallyou film are ‘it was so much fun and we know entrants having were fun.shown Whenon your thefun bigscreen. involves After everyare team had received where people coming from andthe Matt creating Grehan, a film who within produced 48 hours, the time required elements for their film, what they have to go through, so it’s theBrisbane seems to 48take Hourthe Film form Project of a fly with on doors opened and The Project began. prettyinterestingseeingtheendresult.’ Beirne, red bull. saidEach ‘that’sdetail whattakes it’s allprecious about, seeing it, just being amazed at them

Teamawaitsverdictfromthegenrewheel 9

DavidBeirne,co-producerofthe Brisbane48HourFilmProject, attheawardsnightticketdesk.

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being able to pull it out in 48 hours.

They are usually pretty good quality.’

Despite the initial thought of a low budgetmovieproducedinawildand possiblysleeplessweekend,forthemost part the films actually were good quality. The time limit, randomly drawngenre,and3requiredelements wereawicked mix of ingredients that madewayforsomeuniqueandclever films.

Aftermuchanticipationthemoment of truth was upon us. Best film was won by Team Rabriate for “The Fox and the Flightless Bird”. As well as agenerousprizepack,TeamRabriate’s 48 hour journey will continue as they competeintheinternational48Hour Film Project for one of ten places in Cannes Short Film Corner at Festival de Cannes.

Intrigued? Check out http:// www.48hourbrisbane.com.au/ 11

Ruth Dunn

son of sam 12

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Photograph by Adam Creed

Brisbane artist-come-designer Sam Butel started out sculpting human forms and now he’s clothing them. With their unique patterns and imagery, Butel’s designs offer something a little different, a little interesting, and a little quirky. Earlier this month he kicked off his new Son of Sam clothing website and Winter range with an exhibition-fashion show hybrid at JamJar. Since starting out as a 19 year old sculptor, Sam has worked across mediums refining his skill and artistic practice. It wasn’t until he enrolled in a screen printing class that he found himself intrigued with the idea of transferring his artistic designs to clothing. This led to the birth of Son of Sam. For those of you sitting there wondering ‘Son of Sam…is that a reference to the notorious serial killer that plagued New York in the 70s ?’ Yes, yes it is. The name was a suggestion from Butel’s friend who figured “hey your name is Sam, the art is your spawn, it’s a bit dark”. After some deep contemplation the name stuck and Butel was on his way to creating his own label.

Photograph by Adam Creed 15

Photograph by Adam Creed

The foundation of Son of Sam is a desire to create cool clothes for friends and like minded people. Butel says ‘having control over what I am wearing, and seeing other people wearing Son of Sam is a real buzz. I just want to make clothing that is unique and interesting.’ Son of Sam is also a platform for exploring different trends and movements, and tying them together to create a unique angle on how we express ourselves through fashion.

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Photograph by Adam Creed

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Butel’s art and label share a strong connection with the repetition of his imagery appearing on his ceramics, plywood artworks, and clothing. Each piece of clothing is designed and printed by hand, giving them a unique quality and style. Though at first Butel was reluctant to create his clothing label because he considered himself an artist, he soon realised it was a logical progression and the two could co-exist.

In his latest exhibition-fashion show hybrid the complementary nature of Butel’s artwork and fashion label was boldly evident. Butel says ‘it was nice to exhibit my artwork with the new Winter range, showing that connection between the art practice and fashion line.’ He described the quirky prep diamond print and retro feel of his Winter range as looking like ‘a break dancing preppy grandad gone wrong, but I love it.’

Butel has already been picked up by RAW, an American art organization that is branching out into Australia with their first show in Brisbane on 27 June at Oh Hello in Fortitude Valley. RAW holds events combining fashion, art and performance, providing a perfect playground for Butel.

Photograph by Adam Creed

To check out Son of Sam head on over to http://www.sonofsam.com.au/ 19

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Lara Wilkinson

by Liana Turner 31

You grew up in a very musical household, what with both parents being professional musicians. Have you ever had any doubts about having a passion for music?

All the time! It’s such a competitive career if you decide to take it on, and both my parents live with that risk all the time, relying on gigs to make a living. You’ll always get people who’ll make you doubt whether it’s a good idea, but just when I start thinking that maybe life in an office is a more reliable option I’m always reminded as to why I have to continue with music and performing. I can’t see myself doing anything else.

When did you first get into singing? Was it an active decision, or was it more like a natural progression?

To be honest I don’t think I had a choice. I was born into it. Mum would hold me on stage in front of hundreds of people while she sang, every family gathering, birthday and Christmas there was always that moment after everyone had eaten and chatted, and you just kind of knew it was time to “get out the guitar”... Also, Starting my first several years of school at Shearwater Steiner in Mullumbimby (also the town I was born) encouraged a creative spark, I mean there was a dedicated song for every time you went out to play!

What is the most exciting thing about performing, for you?

Everything. The nerves, the warm lights, the technical side of the way it all comes together, the inside jokes and language that only ‘artsy’ people understand, the compliments at the end, the barrier it makes between everyday life and life on the stage, the tension when competing, the hilarious stage mums, the costumes, the friendships made from a mutual love of performing. I could probably go on forever.

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What are some of the challenges you might face as a young performer growing up in a small town such as Murwillumbah?

It defiantly can be disappointing missing out on opportunities living in a rural area.

There’s only so far you are prepared to drive when auditions or eisteddfods come up, and sometimes you miss out on hearing about them all together. I’ve had my thoughts about moving schools, but then I wonder if the same support I have in Murwillumbah would exist in a place where your constantly reminded of the ‘so few’ that make it to the big time.

You begin to realise that making the most of what you’ve got and taking every possible opportunity is what it takes if you want to take your performing further.

How significant do you feel the Murwillumbah Festival of Performing Arts is in terms of supporting and embracing young emerging musicians in your local area?

I have so much respect for ‘Murbah’s’ very own eisteddfod! Since I moved to the area in 2002 I’ve been lucky to participate in its various sections of music, speech and drama and dance and it’s been such a great opportunity for our community, but I’ve also been surprised at the distances people travel to compete, and the level of talent. I love meeting people with the same interests as me too and catching up every year. It’s a very supporting environment, an environment I may have never experienced if I only ever went looking for opportunities beyond our little town. It’s also a great way to get noticed for your abilities around the area and put them to good use, as I remember being asked to perform at Stokers Siding’s ‘Fifteen minutes of Fame’ after competing in a drama section.

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Last year appears to have been a fairly rewarding year for you, between a gold medal at the Festival of Performing Arts, a Tweed Valley Jazz Club award and a JJ Richards Scholarship. Have these achievements heightened your desire to work in the music industry professionally? Do you have high hopes for the 2012 Festival of Performing Arts?

It was deffinatly a rewarding year for me!

Winning the JJ Richards especially has become one of my happiest memories. It made me realise that I was on my path. I don’t think of myself as having a jazz style in the slightest, in fact I don’t even think I could pinpoint a ‘style’ of my own, so winning the Tweed Valley Jazz Club award was a bit of a shock! I’ve always loved jazz though; it was always and still is a big part of mum and dads music. Close family friends and incredibly talented musicians John Hoffman and Sharney Russell accompanied me at the Jazz gig that I won as part of my prize so that was wonderful! As for the 2012 Festival I think I’ll be more of a spectator this year. I’m currently rehearsing for my second show in the last 6 months with Tweed Theatre Company; ‘FAME’ which ends up clashing with the dates of the Festival, and with three, sometimes four rehearsals a week and singing, acting, dancing and playing the trumpet, It was just too much to get together, but I can’t wait to see what it comes out with this year, especially the JJ Richards section.

Being awarded a scholarship would be a great advantage in many ways. How will this help to further your experience and expertise in the industry?

I was lucky to win $1000 dollars to assist me in pursuing my acting and it really has been such an advantage. There was a Musical Theatre Summer Residency program at The Arts Centre Gold Coast early this year I took part in which showed young aspiring performers in and around the gold coast what it takes 35

to be a ‘triple threat’ (sing, dance and act).

It changed my perception of all three completely and opened my eyes to elements of the craft I hadn’t even considered. Its deffinatly made me a better performer, and I know I wouldn’t have had opportunity if it wasn’t for the scholarship prize. The worst part now is deciding what to spend the rest of the money on!

What’s been your most thrilling performance so far, and why?

Ah! The dreaded question! If I had to narrow it down, some highlighted moments deffinatly took place on a cruise ship mum was singing on for work. I would have been around eleven years old when I got up on stage in front of hundreds maybe even thousands people, sung idleviess a Capella (without accompaniment) and played ‘yesterday’ by the Beatles on my trumpet. Apart from that, playing ‘Wendy’ in Tweed Theatre Company’s Peter Pan the Musical earlier this year in April was so special. I was watching one of my favourite stories as a child come to life, and to be a part of it! I can’t describe the feeling, it was just magic.

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Who are your most prominent musical inspirations?

Do you tend to draw inspiration from your parents’ work?

People with pure voices who are appreciated because their love of music doesn’t have to be proven, it comes through their voice. People like Sting and Katie Noonan, John Mayer, Michael Jackson, Alicia Keys, Gotye, Coldplay.

I have to say Jamiroquai is a big favourite of mine too! There are so many sounds, voices, genres of music that inspire me.

Probably the most out of anyone! I’ve often thought to myself that when I hear songs mum and dad cover, as soon as I Google the original to see why it’s so good, I’m always amazed at how they always do it so much better! Sometimes when they drive off to gigs at functions or weddings I have this realisation, that the people who hired them have made one of the best decisions of their life and just don’t know it yet. Without a doubt, my parents have inspired me the most.

I have them and our circle of ‘muso’ friends to thank for surrounding me with music from day one.

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HIDE ‘N ‘SEEK PROJECT Hide ‘n’ Seek Project is a one year writing project that will include articles about Brisbane street and graffiti art, as well as interviews with some of Brisbane’s best street and graffiti artists. New material will be published each month exploring the Brisbane street scene and the artists that work within it.

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

If you’ve spied some street/graffiti art in Brisbane and want to publish some photos or let me know where it’s at email me! - ruth@ rawinkmagazine.com

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HIDE ‘N ‘SEEK WITH

RUTH DUNN Skull Cap is a Brisbane based artist specialising in stencilling to produce art on a variety of surfaces for the gallery and the street. I caught up with the artist to chat about his practice and mind ticking artworks.

How long have you been creating art?

Basically all my life. My dad used to be a screen printer so I was constantly learning how to do that growing up. I went from screen printing clothes to art. I did some art in high school but I’ve never studied it and no one has ever shown me how to do it…I’ve just done it my whole life. I’ve gone through different styles of drawing, screen printing, stencilling, and that kind of thing, and I think I’ve finally found my niche, you know, my style.

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What first drew you to art?

It relaxes me, it releases me, it takes me away to another place when I’m doing it. It makes me forget about all the shit I have to deal with.

You mentioned you used to make t-shirts. What other kinds of things have you been involved in as an artist?

When I originally got into art I was doing sign writing, I did work experience sign writing in high school.

What do you mean by sign writing?

Like hand painted billboards and that kind of as a bit more of it around. But that didn’t really interest me…the whole commercial side of things. I found that I was more into watching my dad screen print and cut out these stencils that were very fine. He paid really close attention to detail; he would look through a magnifying glass and cut out these things and screen print them in such fine detail. He never taught me, I just picked it up. So I started screen printing shirts and I sold them at the markets for a while, and had my own label for four or five years, nothing major, just a bit of fun. Then I got into painting.

Where did the name ‘Skull Cap’ come from? *laughs* Someone asked me that the other day. I was just sitting at home one day thinking of names for my first exhibition, just kind of messing around…and I like skulls, and just thought Skull Cap, it just happened.

I didn’t think I’d use it for as long as I have, or that it would become my actual name, it was just a name I was going to put in my first exhibition. No major cool story behind it, it just stuck.

Do you sign everything with Skull Cap? I sign my canvases with the first letter of my last name. But with stickers and things like that it’s always Skull Cap. I’m not a massive street artist anymore; I don’t really do pieces or tags on the street. I used to when I was younger, I do stickers and a few paste ups, but I tend to take my artwork to the gallery now.

I’m getting too old to run from the cops now.

So you did a fair bit of street art when you were younger?

Yeh I was from a country town so you really weren’t in so much trouble when you got 42

caught. So I did a bit of graf back then, but now I use canvases more…and I like to use recycled shit too, like tvs and doors and windows. I like to try to rebirth the item, so to speak, paint it up and give it a new life.

What are some of the main themes that come through in your art?

I like to be controversial. I like to make people use their heads. A little bit behind Skull Cap is you have to use your head, you know, you have to use your skull cap. I like people to take whatever they want from the painting… someone might take a certain meaning from a work and the next person might take something different, that’s how I like it to be.

Most of them have meanings behind them, but sometimes I just paint it and like to just leave it open to interpretation.

In a few of your artworks you painted artists like Warhol and van Gogh. Do you have any stand out artists that you look up to?

Yeh obviously Andy Warhol. I love that era, I love Pop Art, I love the really colourful stencils, and the repetition. I like any art really, it doesn’t have to be modern day or old, if I find something that’s inspirational from it I’ll take it and use it. But yeh, I enjoy Pop Art references…

I noticed you use imagery from popular culture and celebrities…

Yeh I like to use faces that are famous but that people don’t really know too much about and sort of rebirth them, so to speak, as well.

But yeh Andy Warhol, Jean-Michel Basquiat, and van Gogh are three artists that are quite inspirational to me…they are probably three of my biggest inspirations when it comes to artists.

How long have you been involved in the Brisbane street art scene?

I’ve always known about it, I’ve always seen it around, and I’ve always been in the scene but two steps out of it, you know what I mean.

But in the past 18 months I’ve basically just saturated myself with it, just getting out there and meeting as many people as I possibly can.

I’ve found it’s actually bigger than I thought it was. But in saying that, I’ve also sort of kept

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my distance as well and I just kind of do my own thing.

Why is it that you like to keep your distance?

I guess it’s not distance, it’s just doing my own thing, and if people wanna come on board, by all means I’ll do something with them. Not in an arrogant way, I just enjoy what I do.

What do you think about the Brisbane street art scene?

It’s great, there should be more of it, and there should be more places where you can do it.

It just makes the place more colourful, more bright, you know.

So at the moment is most of your street art practice through stickers?

Yeh, I’d probably say about 60% of it is stickers because they are quick and easy and I can make like 100 stickers a day. They are all hand made, all stencils, so they’re not mass produced…well they are mass produced but they are hand done mass produced, they are all hand cut stencils. I’m always walking around so I always have half a dozen or so in my pocket…. I did like 10 walking here from my house 800 metres down the road *laughs*.

I think it’s a bit of an art, some people don’t, but some people put a lot of effort into it, I know I do… Sometimes I make four or five layer stickers. I could be making an art piece and be trying to make money off it, but I like to put them in the street for anyone to see. So they are good fun, I wouldn’t say they are the strongest of my work, but they are part of my work and part of my style. Most of the time I know I should be painting, but somehow I just get addicted to stickers. I find myself saying ‘right, I’m not gonna do any more stickers,’ and then I end up having twenty lined up and being like ‘how did I come to this stage! What am I doing! ’ *laughs*.

Do they have a similar theme to your artworks, or are they just for fun?

Yeh…ahhh, a lot of them aren’t as out there.

But some of the stickers where I do three, four, five layers tend to come from paintings that I’ve done and I translate them onto the stickers. But obviously the stickers don’t have nearly as much work in them as the paintings.

You recently had a pop up gallery called ‘Missing 44

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Peace Street Art Gallery’ which lasted for three months. How did that come about?

Probably about 12 months ago I did my first solo exhibition, then went away and did some more painting and came back a few months later and basically wanted to step it up a bit.

I wanted something a bit longer, and bigger and better…so I found an old office space and I asked…well I kind of told them here’s what I’m gonna pay for three months and here’s what I’m gonna do. So I turned it into a gallery and had some interactive rooms where people could come and add something to it, and then had my studio out the back where I could paint the walls and spray some graffiti. So it was basically a working studio and gallery, and I had a few launches in those three months. It was a personal goal for myself and something I thought I’d never do and then all of a sudden two, three weeks later I was going through the process and I couldn’t back out. It was a lot of work but it was worth it, it was a lot of fun, and I met a lot of people through it. So hopefully next couple of months I’ll be doing either another solo show or a joint one.

Yeh I was going to ask whether you had anything coming up…

I’m always thinking about something, so I’ve always got something going on in my head.

But yeh my next goal for the next two or three months would be to do another exhibition... we’ll see. I’ve got a lot of energy so I may as well use it.

How do you find the cross over between street and gallery?

I tend to not go into too much detail with street work, I tend to put a lot more time and detail into work for the gallery. Street art isn’t permanent, but the work for the gallery is. I haven’t done much street art in a long time…I mean I’ve done a few paste ups here and there. I got into paste ups for a bit, it was quite fun, but I tend to do more stickers these days, and people seem to be recognising me more for my stickers now…so I’m kind of thinking maybe I should pull back on them a little because I want to be known for my gallery work, you know, the work I put a lot more effort into.

Shout out to Brisbane street and graffiti artists46

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Yeh there’s a few artists that I’ve gotten into lately… I like Brad Graffiti Roms style, his skulls, the colour, and the old school side of it; the Brisbane street artist called ASIO, I love his view, I love his vision, I love what he does, he’s just fantastic; Be Free is an artist from Melbourne, I love her work; and an artist called Suki, she’s great too. I like a lot of people’s style, but those are some of the artists that I particularly like at the moment.

Oh and ZKLR’s cool, I like his style and he’s also got that old school side to him.

If you want to see some Skull Cap artworks in the flesh he has some pieces hanging in the Alibi Room in New Farm www.thealibiroom.com.au www.facebook.com/alibiroom.newfarm For more Skull Cap check out www.facebook.com/Skullcapdesigns

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2012

VEMBER E i 2 No i 29 JUN 23 MaRCH .au/7x7 rg design.o THE VoiCE oF PRoFESSioNaL dESiGN

y se ven se ven b eries dia talk s

QUEENSLaNd BRaNCH SEVEN BY SEVEN

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THE VOICE OF PROFES SIONAL DESIGN

QUEENSLAND BRANC H

SEVEN BY SEVEN

7X

GUEST SPEAKERS MIN UT E S E ACH

differ ent speaker s each event

The inaugu ral S even by S even Talk Series p romotes collaborative design p ractice on the Gold Coa st and celebrates the c reative cultu re, leisu re and li festyle of the local community.

This unique Gold Coa st initiati ve provides connections and net working opportunities for eme rging and e stablished design p rofessionals, design students and design rela ted organisations with an aim to initiate collaborative projects that stimula te the design community on the Gold Coa st. Each talk will feature s even local gue st spea kers that will speak for s even minu tes each covering topics which rela te to various design disciplines. Go to design.o rg.au/7x7 for full spea ker s bios and event upda tes.

TALK 1 : MARCH 23

NATASHA EDWARDS SWELL SCULPTURE TALK 2

GOLD COAST

YOUNG BLOODS SOLD OUT! The fir s t S even by S even Talk focus ed on a young and exciting gener ation of des ign s tudents , emer ging des igner s and cr eative pr ofes si onal s s tudying and wor king within the cr eative indus tr ies on the Gold Coas t.

TALK 2 : JUNE 29 GOLD COAST

PRACTICING PROFESSIONALS The s econd S even by S even Talk will be themed ar ound es tablis hed pr ofes si onal des igner s and indus tr y affiliates that br ing a wealth of knowledge and exper tis e to their des ign pr actice as highly s killed contr ibutor s to bus ines s , s ociety and the envir onment.

TALK 3 : NOVEMBER 2

Natas ha E dwar ds is a F ounding Dir ector of the annual S well S culptur e F es tival held at Cur r umbin B each in S eptember each year. As well as deliver ing to Queens land a unique and highly popular cultur al event, Natas ha’s ins ight and appr oach to cr eating and developing r elations hips neces s ar y to s us tain a vibr ant ar ts community has , as a whole, contr ibuted to the gr owth of cultur al awar enes s on the Gold Coas t. Natas ha has wor ked on many public ar t pr ojects thr oughout Queens land and has been an advocate for the ar ts and cultur al s ector. S he under s tands , appr eciates and nur tur es the cr eative pr oces s and r ecognis es how ar t and the ar tis t function in s ociety and s ees that s ociety des ir es and r evels in this cr eative s timulus . P r es ently s tudying for her Mas ter in Ar ts and Media at Gr iffith Univer s ity, Natas ha’s pas si on for the ar ts will ens ur e the ongoing cultur al development of the Gold Coas t.

ww w. s wel l s cul ptur e.com. au

VIP DIA MEMBERS & GUESTS The final S even by S even Talk will be a s pecial VIP event for DIA member s and gues ts only. The evening will focus on DIA member s fr om a r ange of des ign dis ciplines demons tr ating how des igner s need to be focus ed on keeping abr eas t of cur r ent des ignr elated is s ues and the benefits in par ticipating in CP D activities and networ king oppor tunities .

R efer to webs ite for detai l s

David is a fr eelance r etail inter ior ar chitect r unning his own s ucces sf ul bus ines s for over 14 year s and is one of the founder s of The Ne xt B ig Think, a communication, publis hing and ideas company who’s visi on is to help people comm unicate and connect in mor e meaningful ways . David is the s elf pr oclaimed “Happines s Des igner ” and is the author of a number of books on happines s and s pir ituality.

He has tr avelled extens ively and his exper iences have pr ovided ins pir ation, if not dir ection, to his life and pr actice. He believes life is des ign and des ign is life. E ver ything has a des ign. David lives and wor ks with his life par tner Heidi and their next pr oject is to des ign their life ar ound tr avel s o they can live and wor k anywher e in the wor ld.

ww w.the- nex t-b ig- think .c om ww w.r etail inter ior des ign.c om. au

As des igner s for Yellow Goat Des ign, Conr ad and DaS omm ar e par t of a cr eative team des igning cus tom- made lighting for high- end pr ojects thr oughout the wor ld. B as ed in S outhpor t, Yellow Goat is not jus t a quir k y name, but a bus ines s inter nationally r enowned for its out- ther e des ign, cr eativity and high- quality manufactur ing.

Queens land College of Ar t gr aduate and s wede, Conr ad joined Yellow Goat in 2006 and s tar ted his car eer in a demountable wor king for ar tis t, des igner and Yellow Goat founder Je r zy L es ko. In his r ole as des ign manager, Conr ad enjoys pus hing the boundar ies in his field, both as par t of the tale nted in- hous e des ign team, and collabor ating with des igner s wor ld wide in s ear ch of per fect for ms .

In 2011 he won Inter ior Des ign magazine’s ‘B es t of Year ’ awar d. DaS omm, al s o a QCA gr aduate, joined Yellow Goat Des ign in 2008 after finis hing two degr ees ; pr oduct des ign and visu al comm unication des ign. Her s tr ong inter es t in both ar eas ar e evident in her wor ks , often incor por ating as pects of gr aphic des ign elements into lighting des ign.

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B or n and br ed in Queens land, P hilip F ollent tr ained in ar chitectur e at the Univer s ity of Queens land befor e es tablis hing his own pr actice in 1982 on the Gold Coas t, wher e he has lived for over 30 year s .

One of the younges t ar chitects to have been elevated to Fe llow of the Aus tr alian Ins titute of Ar chitects in 1990, P r of F olle nt was later awar ded L ife F ellows hip in 2007 for exceptional contr ibution to ar chitectur e. He was the Gold Coas t City Council ’s City Ar chitect fr om 2003 to 2008. This was followed by his appointment as the Queens land Gover nment Ar chitect for thr ee year s until 2011, wher e he over s aw and advis ed on matter s of des ign that affected the s haping of contempor ar y Queens land ar chitectur e and ur ban is s ues . He chair ed the Queens land B oar d for Ur ban P laces and is a member of the Queens land Des ign Council. In 2010 he became the F ounding Head of the S oheil Abedian S chool of Ar chitectur e at B ond Univer s ity.

ww w.bond.edu. au

MARK GOUDIE PLUVO TALK 2

CONRAD JOHNSSON & DASOMM CHOI YELLOW GOAT DESIGN TALK 2

GOLD COAST

PROF PHILIP FOLLENT BOND UNIVERSITY TALK 2

DAVID CUSCHIERI CUSCHIERI DESIGN CONSULTANTS/ THE NEXT BIG THINK TALK 2

Mar k is co- dir ector of Gold Coas t cr eative agency P luvo (for mer ly B r andhaus) . With over 20 year s of indus tr y exper ience Mar k is wellknown acr os s the Gold Coas t for his pas si on of cr eative ideas and dr ive for his bus ines s endeavour s that exceed expectation. P luvo’s mis si on is to make their clients’ bus ines s mor e effective by looking fr om an holis tic per s pective and pr ovide them with s tr ategic dir ection and tools for their bus ines s to communicate mor e efficiently. Whether its s tr eamlining day- to- day tas ks thr ough new technology or cr eating a s tr ategy to elevate their br and and extend its r each. Mar k and his fellow dir ector s offer knowledge, cr eativity and s kill to deliver bus ines s s olutions for clients r anging fr om local bus ines s entr epr eneur s to global br ands like McDonalds , Woolwor ths , Nokia, Gillette and many mor e.

ww w.pl uvo.com. au DANIEL DELLA-BOSCA QUEE NSLAND COLL EGE OF ART, GRIFFITH UNIVERSITY TALK 2

ANGELA LOMAS CATC DESIGN SCHOOL TALK 2 Angela L omas is new to Aus tr alia, moving her e thr ee year s ago fr om the United K ingdom. Her car eer s pans mor e than 15 year s wor king within the inter ior des ign indus tr y. Sh e br ings with her a wealth of exper ience fr om all s ector s of the inter ior des ign pr ofes si on. Angela has had var ying r oles , fr om Ar ts Coor dinator for Cam p Amer ica (bas ed in the E ver glades of Miami, US A), to her final UK pos ition as S enior Inter ior Des ign for multi- faceted company Capita S ymonds . Thr oughout her car eer s he has wor ked for many demanding blue chip clients including alongs ide the late Dame Anita R oddick when employed as Des ign Manager for The Bo dy S hop Inter national. Angela has r ecently completed her Gr iffith Univer s ity pos t gr aduate degr ee in s econdar y education and, after wor king for E ducation Queens land for a year, is now lectur ing for CATC Des ign College on the Gold Coas t.

ww w.catc.edu. au

Daniel Della- B os ca teaches Digital Design at the QCA, Gold Coas t campus . Wor king in fr actal mathematics with the Iter ated Function S ys tem, fr actals can gener ate elegantly comple x thr ee- dimensi onal for m that can be eas ily as s imilated and acknowledged by the viewer. His r es ear ch inter es t is in the r elevance of mathematics in under s tanding the natur al wor ld.

ww w.gr iffith.edu. au VENUES

TIME

TICKETING

REGISTRATION

BECOME A MEMBER

CPD POINTS

TALK 1 Rabbit + Cocoon

6.00pm for prompt 7.00pm start, 10.00pm finish.

Special Group Offer Buy 6 tickets get the 7th FREE!

TALK 2 Spendelove Bistro & Bar Ferry Rd Markets Brickworks Centre 107 Ferry Rd Southport

For further information contact TANYA WALSH DIA Seven by Seven Coordinator T 0411 690 059 E diaq.goldcoast@design.org.au

Individual Talks DIA Member Non DIA Member DIA Member Student Non DIA Member Student

Register to attend and pay online at www.trybooking.com/BJOE and follow the link.

To become a DIA member go to www.design.org.au > The DIA > How to Join.

This event is a DIA sponsored Continuing Professional Development (CPD) activity.

RSVP

DIA members are unable to purchase tickets on behalf of non members.

Don’t miss out. Only payment secures your seat. The Seven by Seven Talks will sell out quickly.

See www.design.org.au for full details of the CPD program and how to become an Accredited Designer™ .

4 points are allocated to each talk to contribute to your accreditation requirements.

This event will be accompanied by finger food and complimentary beer or wine.

$21 $28 $14 $21

RSVP Talk 2 you must book and pay online by Monday 25 June.

Unfortunately payments at the door cannot be accepted.

TALK 3 Refer to website for details.

See www.design.org.au for full details of the CPD program and how to become an Accredited Designer™ .

Disclaimer: Whilst all efforts are made to adhere to the advertised Seven by Seven DIA Talk Series Gold Coast programme the DIA Queensland Branch reserves the right to change talk dates and change speakers without notice due to unforeseen circumstances or if the need arises. A suitable replacement speaker will be sought and no refund offered for a change of speaker. The views and opinions expressed by the speakers are those of the individual and are not necessarily the views of the Design Institute of Australia. DIA Template Design: Florentzos Design. Seven by Seven Brand Design: Creative Whit.

SPONSORS TALKS SPONSOR

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liana turner When was Devillain first formed?

Devillain as an idea was something that I’d been playing around with ever since I left high school, and I used to muck around with a good friend Shannon (Chippa Wilson’s cousin) in a factory he was working in on Machinery Drive in Tweed Heads where he was spraying surfboards at the time, and I’d go buy cheap blank tee’s and Shan would use his airbrush and stencils and we’d make a whole bunch of one off Devillain tee’s, but we never tried to sell them or anything then, we’d just wear them around ourselves, It wasn’t till early 2010 after much dreaming that I decided it was time to start really working towards making Devillain something real.

What inspired you to start up a clothing line?

My main inspiration behind starting Devillain was because I didn’t want to be spending all my time stuck in a boring job that I hated, I wanted to create something that kept me connected to and working with lots of like minded interesting people, and doing something creative and fun.

Have you found there to be a great deal of difficulties in terms of starting up and getting your name out there?

Getting your name out there is probably the biggest challenge with any brand, but it’s also lots of fun trying to come up with novel ways to do it.

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In a world so largely dominated by large, mass-produced brands, how have you managed to shine through and persist as your own entity?

There’s plenty that can be learnt from the large dominating brands out there, to get to the level they’ve gotten to there’s obviously lots of things that they’re really good at, and have done really well. But to stand out as your own entity and make people take notice, I think it’s really important to have fun and not be scared to do things differently and add your own flavour to everything. It definitely helps if you have a clear vision of what you’re trying to achieve.

To what extent do you feel there’s a need for more individuality throughout the clothing industry? Do you feel there’s too much prevalence of sameness in the industry, or have you found there to be an increasing number of small, unique labels emerging?

I think having a level of individuality in your brand and with your products is totally essential, there’s always trends in fashion which lead to a certain extent of copying and sameness throughout the clothing industry, but there’s plenty of people and brands out there with unique ideas putting their own spin on things that help to keep things exciting and fresh.

What’s the most challenging thing about running a clothing label?

There’s lots of challenges with running a clothing label, the biggest challenge though that takes the most work is getting your product into stores, store owners and managers are often hesitant to take on new emerging brands and can sometimes take a fair bit of convincing.

And the most rewarding thing? What makes it all worth it?

There’s lots of rewarding things about running a clothing label, getting to work and collaborate with a whole bunch of creative and interesting people, seeing the brand grow and develop with all the effort you put in, and most importantly, seeing people out 54

Barek’s Artist’s Series Tee www.devillainclothing.com/blog/article/49/barek

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there wearing the clothes that we’re making.

Something that happened the other day that we were all really stoked and excited about was our first international order from our web store, which was from someone over in Lithuania.

You’ve been collaborating with a variety of artists on the “Artist Series”; what made you initially want to start this series, and what made you choose these particular artists what stood out about them to you?

The intention behind our artist series, was so we could release an exciting range of limited edition tee’s with the added bonus that people can get to know a bit about the artist that’s designed it by watching the video that gets released alongside the tee. Sometimes we approach artists that we’d like to work with, and sometimes we have artists approach us, we just go with people we think are cool, with styles that we like. Different artists stand out to us for different reasons.

Have you found it to be an interesting outlet for these artists?

You’d have to ask the artists themselves whether they found it an interesting outlet, but it definitely seems like they’ve all been stoked to see there art on a tee, and the videos are great publicity for them.

How important would you say collaboration is, between the areas of arts and clothing?

There’s lots of examples of brands out there that are evidence that it’s definitely not essential. But to us with Devillain, we think it’s really important to keep collaborating with interesting artists, because it helps to keep new ideas flowing, and as a brand we want to promote the importance of people expressing themselves creatively as individuals.

How do you feel the collection has been received so far?

Haha I’m sure there are some people out there that think it sucks, but we’ve been getting lots of good feed back and we really like it.

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What inspiration would you give to young emerging designers who wish to follow a similar direction to Devillain?

The main bit of advice I’d give to anyone wanting to start a clothing brand is to do it!

There’s a lot of people out there that will come up with all kinds of reasons why you shouldn’t, but if it’s something you’re genuinely interested in doing, then get as much advice as you can from people already in the industry, make a plan, and start. There will definitely be challenges, but finding ways to overcome them is half the fun, and it’s really rewarding when you do.

How do you feel about the future prospects of small business throughout the Australian creative scene?

There are so many impressive young creative people out there that aren’t afraid to put themselves out there and give things a go, so I think the future of small business throughout the Australian creative scene will probably be really bright.

To see more of Devillain’s range, go to: www.devillainclothing.com www.facebook.com/devillainclothing Check out their blog to see the artist’s series Tee’s.

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Artwork by Loretta Lizzio www.lorettalizzio.tumblr.com

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Roy Lichtenstein Nude with blue hair 1994 relief National Gallery of Australia, Canberra Purchased with the assistance of the Orde Poynton Fund 2002 Š Estate of Roy Lichtenstein. Licensed by Viscopy

Brisbane, Say Hello to

Ruth Dunn 62

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It has been a while since Brisbane was graced with the 2007 Andy Warhol exhibition.

Perhaps you’ve spent the last five years clinging to Pop Art books, eating Campbells soup, and staring off into the distance hoping to see but a glimmer of Pop Art on the horizon. Well the day is coming my friend.

Dust off those Pop Art glasses and prepare yourself for Roy Lichtenstein: Pop remix.

Lichtenstein’s famous comic strip style will line the walls of the Queensland University of Technology Art Museum from 30 June to 26 August. Making its way from the National Gallery of Australia, the exhibition will offer a fascinating insight into the working methods of a central figure in the 1960s American Pop Art movement.

“Roy Lichtenstein’s work is instantly recognisable. His bright, brash paintings and prints have entered our cultural consciousness as icons of the Pop Art movement,” said Ron Radford AM, Director, National Gallery of Australia.

The exhibition will include 80 works on paper tracing Lichtenstein’s print projects from the 1950s to the 1990s. It explores the artist’s method of fearlessly appropriating, transforming, and remixing art historical sources including Claude Monet’s Impressionism and Max Ernst’s Surrealism.

“Lichtenstein reinterpreted the work of these artistic giants and significant art movements using an instantly recognisable graphic aesthetic, effectively branding himself with a signature Lichtenstein-look to secure his place alongside those masters he so admired,” said Jaklyn Babington, National Gallery of Australia exhibition curator.

Pop remix will feature Lichtenstein’s best known Pop prints, including his remixes of romance and war comics, brushstrokes and nude girls. If it’s slick intelligence and humour you want, it’s slick intelligence and humour you’ll get.

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Roy Lichtenstein: Pop remix is at Queensland University of Technology (QUT) Art Museum from 30 June – 26 August www.artmuseum.qut.edu.au/ exhibit/2012/lichtenstein.jsp

Roy Lichtenstein Crak!

1963-64 colour lithograph National Gallery of Australia, Canberra Purchased 1996 © Estate of Roy Lichtenstein. Licensed by Viscopy.

Roy Lichtenstein Bull VII 1974 colour lithograph, screenprint, linecut National Gallery of Australia, Canberra Purchased 1973 © Estate of Roy Lichtenstein. Licensed by Viscopy.

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