ISSUE 14 | DECEMBER 2018
tarski design I stare at Tarski Design's Instagram showing her making 'slabs' of polymer clay and turning them into dainty creations. To me, she's one talented, awesome human. I just can't get over the level of detail and care that goes into each design, and the technique involved in creating each one. Genuine works of art. Every single piece. tarski_design
susie esse Cats are great, aren't they? Moody as fuck little fur balls who some days love a cuddle and others....well, let's just say watch out for those claws. The best thing is, you don't know which one you're going to get that day when you go for a pat. That's why, in my opinion they're purrfectly suited to creative people as companions - because let's face it, most days we're exactly the same. Susie Esse's whimsical and oh-so-cat-worthy illustrations showcase the love that we have for these dear creatures and the happiness that comes with owning one. susie_esse
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tsuno If you haven't heard of Tsuno, let's be honest; you're probably a dude (or just not following them on IG). Tsuno is a brand creating sanitary products made from sustainable bamboo & organic cotton - safer use for females. (For those who don't wish to use a cup!) One of the awesome perks to buying Tsuno, is not only are they local, but 50% of profits go to charities empowering women and girls - results of which they post on their social media so you can see EXACTLY where you're money is going. Also, Tsuno partners with brilliant artists for their packaging - which really, as a creative female, I just can't go past. _tsuno_
camp cove swim
campcoveswim
Camp Cove is the newest brand on The Eye Creative radar, and so far has our vote for best swimwear label for ladies of all shapes and sizes. Girls don’t hide away in boring all-black one-piece bathing suits, grab yourself a treat from Camp Cove and swim in the colourful, body-positive world that these lovely designers have created.
Models - Tash Ncube and Maia Onyenachi Photographer - Isabella Kerstens Stylist - Katherine Hampton
www.theeyecreative.com
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concrete jellyfish words by Courtney Rothberg
I’ve worked in the fashion industry since I was 22 years old, landing my first job at the HQ of one of Australia’s biggest fast fashion brands. I still remember my interview, gliding my fingers over patterned fabrics when bypassing the running rails full of garments, rooms dedicated to accessories and don’t even get me started on the shoe closet that dreams were made of. It was an overload on the senses, a crash course in maximalism.
loved regardless if it was on trend or not. Who saw fashion as an experimental journey with fun to be had, clashing colours to be worn. Outfits that would make Iris Apfel proud. When I started researching the killer woman behind Concrete Jellyfish, she instantly reminded me of the latter. Rene Skelton is marching to the beat of her own colourful drum and leaving the rigid fashion world in her wake.
As time passed, the glitz wore off and it just became the norm. The rotation of clothes in and out of my wardrobe was absurd and I jumped on more trend bandwagons that I care to divulge. I’ve never joined in the cult buying of the Isabel Marant Bobby sneakers or the Gucci Soho Disco bag, definitely because I can’t afford it but mostly because they are a uniform. A badge to be worn to let the world know you take your fash-un seriously. I could count on one hand the amount of women I’ve worked with who were truly unique in their style, dressing solely for what they
“Labels and trends have never really guided me – I’ve always just worn what I loved and created what inspires me at the time. I think if you create something with intent and meaning it will always be timeless because people will see the love and passion you’ve put into it. And that to me is a far greater accomplishment than being ‘in’.”
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Originally from Bunderberg, Queensland, Rene always grew up making things, creative energy pouring out of her any chance it got.
Often when talking to creatives and the road they’ve travelled, we can easily cover topics of struggles they’ve faced in the early days, poignant moments within the journey that upon looking back were transformative and can definitely discuss their rise of success they’d only dreamed of in the hope of inspiring you, our dear readers. But for the last few years of interviewing creatives, one common theme has surfaced among countless talents that have graced these pages and that is about the pressure you face when making your art, your livelihood. I’ve had a myriad of artists tell me they would never want their art to become their full-time job, preferring to hold down a steady 9-5 and let their creative endeavours be free. I don’t mean financially, I mean without being confined or being dictated based on another’s needs. Free. When the opportunity arose to interview Tammy Kanat for this feature, I didn’t expect to come across the lived reality of that theme and whilst her experience may not be the answer for all, it did really give me an insight into why staying present and honest with your heart is probably the most pivotal relationship any creative can have.
beginning of a new piece is always exciting with the prospect of what is about to unravel. “I enjoy selecting the different fibres and colours. I just let the piece evolve as I go. It is a very organic and intuitive process for me. ”Admitting to being a true colour lover, she isn’t bound by what traditionally goes together, which adds another dimension to her work that sets it apart from the rest. “I love all colours. I work instinctively with my colour palette to what pleases my eye. The colour I work with usually reflects my mood. I utilise bright colours when I’m feeling upbeat, earthy tones are when I’m feeling melancholy and calm, strong and bold colours when I’m feeling passionate and empowered by the process.”
“Weaving is a slow process and cannot be rushed. The focus is not intense, it is meditative and free. The works evolve, so I need to be in a relaxed headspace to have clarity and connect with where to go next with the artwork.”
A Melbourne native, Tammy has carved out a space within the fibre art industry where only she resides. If you’re not familiar with her work, it’s beyond anything I’ve seen before it. There is a depth to her art that is mystical. Her circular works appear like a portal to another universe or a birds eye view of a land reserved only for fiction or fantasy; a true escape for the mind to wander through. Using natural fibres like Merino wool, silk and linen to create her masterpieces, the
Emotionally honest and raw and describing herself as someone who wears her heart on her sleeve, Tammy shows a connection to herself that makes me think; this certainly isn’t the first life she’s lived. “When I create pieces, the process is an unconscious journey. It is not until I finish the piece that I see what has happened.” Drawing inspiration from everything around her, she is fluid with her design approach, explaining it is instinctive more than anything else. “Weaving is a slow process and cannot be rushed. The focus is not intense, it is meditative and free. The works evolve, so I need to be in a relaxed headspace to have clarity and connect with where to go next with the artwork.”
Photographer: Georgia Wallace Model: Nyamouch Deng Makeup: Sarah Smith (Make me Over Artistry) Hair: Felicity Scruton Stylists: Rene Skelton & Libby Frederickson www.theeyecreative.com
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Growing up in a musical family, Julia and Angus both had plenty of practice performing in living rooms and small shows before taking on massive venues like Splendour in the Grass and Falls Festival, but Julia will be the first to confess that making a living from your music goes far beyond finding confidence on the stage. “It's a whole combination of things that make a music career and a music life and that's like being in the studio and working with other musicians and being able to communicate what you want in the studio. There are things that have taken us time to learn. I think, just from a practical side of things, learning how to use Pro Tools, for instance, or learning how to sing into a microphone at the right distance, comfortably, and how not to be selfconscious when you're being recorded.” After recording and producing their latest record from their home studio, understanding the practical side of the business has never been more important. “We've been in the studio a lot. Now we have our own studio and we can kind of engineer some of it ourselves and relax. That's been good for us. It definitely has opened up the song writing process and also the ability to write together.” The process of ‘opening up’ isn’t limited just to writing, and years of experience have instilled a certain kind of perseverance in each of them. “When you do work in your life, in any sort of field, how you communicate in relationships and all of that, you
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start to reap the benefits of the hard work down the track by having stuck through it. I think Angus and I have done that. We've really stuck through some hard times and just got to this place where it's worth it. We know how to communicate musically and personally… Certainly, I'm not trying to say that we're any way meant to get to it. We're definitely on a long journey of evolution and hopefully it just keeps growing.” Covering 5 Seconds of Summer’s hit, ‘Youngblood,’ has followed in the duo’s tradition of presenting great music with the dreamy ‘Angus and Julia sound’. “Angus and I are always looking for interesting covers to do. It's sort of a part of our catalogue of music. We've done Nelly Furtado and we've done Chumbawamba… When we started talking about doing this acoustic session, we were investigating what songs in the Top 50 feel like songs that could be fun to reinvent, give our own spin on it, and we were listening to. Youngblood really stood out for me amongst all the music that's in the mainstream at the moment. I'm a huge fan of pop music and the era of Britney Spears and that kind of song writing. Youngblood stood out to me as a song that had that element of almost, for me, what I think of as my teenage years pop music. So we just gave it a try! We had a great band in the studio with us and they added in their bits. It came together in this way that was exciting and cool.”
Music continues to be powerful, no matter how experienced or well-known you may be, and Julia continues to find the magic in tracks old and new. “Ever since I was a kid, music always felt like it could take you somewhere else and take you out of your reality. However good or bad it was, you could fantasise and dream and imagine through sound and move your body and things like that. That’s why I love making music and also why I like listening to music. It really transports you, that's something that all music does.” Admitting she’s not listening to much at the moment, too occupied with some top secret project that will be hitting the airwaves soon, the two artists Julia cites as her current inspiration are Gillian Welch and Dave Rawlings. “There's a great record, Time the Revelator. I did a road trip up the coast of California with a friend of mine and we had it on repeat on that trip, over and over again. I just loved it. I revisited her and that record again recently, it reminds me of that
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trip, but it's also just a really beautifully put together piece of song writing.” After saving the day stepping in for Childish Gambino at Spilt Milk, you can keep an eye out for Angus and Julia’s own beautifully put together song writing live this festival season. Hitting up all the major cities on the East Coast, Julia hinted that they’ll be ‘bringing some of [our] odd collaborations’ to the stage as part of Paul Kelly’s Making Gravy tour in Sydney, Melbourne and Brisbane. Grab some mates to catch the brother-sister duo, as well as some other stellar Aussie acts, including Courtney Barnett and Ruby Fields up at Kariong for Mountain Sounds Festival next year. Either way, we’ll all be keeping an eye out for some more acoustic releases and relaxing by the beach with Chateau and Youngblood in our Summer mix. angusandjuliastone
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Photographer:Tatanja Ross / On Jackson Street
www.theeyecreative.com
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Photographer:Tatanja Ross / On Jackson Street
nicole millar words by amy farnworth
bea bellingham
words by naomi crawford
If you happen to find yourself inside the studio of Bea Bellingham, you’d find yourself amongst, aside from Buddy the Studio Dog, oodles upon oodles of ceramic goodies. From planters, to mugs (some of which double as planters!), to vases, and earrings; Bea has curated her craft to highlight the silly side of life. Indeed, listing herself as a ‘maker of ceramics and silliness’ on social media, Bea fulfils this with art that truly inspires joy. “I do have two overarching principles I suppose: that the work be quirky not cutesie; and that it be full of movement.” Of her journey into ceramics, Bea admits that she “didn’t initially train in ceramics. In fact, I didn’t train in the arts at all, journeying via a BSc in Psychology, working as a graphic designer, illustrator and portrait artist. Shh, don’t tell anyone, but I haven’t had any formal training in ceramics. I caught the mud bug from a friend who suggested I give it a try. I really liked how wonky ceramics not only lended themselves really well to my wonky illustrations but allowed my illustrations to have a function - to be useful beyond being something to look at. Pretty quickly ceramics over took everything else I did and now it’s my full-time job.”
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It’s also this lack of training that Bea attributes the quirkiness and style of her art - “I’ve been able to push porcelain and glazes in ways that you traditionally wouldn’t. I deliberately warp ceramics as soon as they come out of their hand-built molds. I mix my own underglaze colours, but I’m useless at remembering the recipe, so every single batch is different: some brighter, some inkier.” This quirkiness also lends itself to the way in which Bea portrays her art on her ceramics. There are animals and boobies galore across the plates, planters, and some even make an appearance in the form of earrings. “I’ve always been quite off-centre, and it took me a long time to embrace I’m just a unique little snowflake and to actively seek out the funny side of it. It makes sense to me to portrait just how funny and ridiculous I find life through my work… I suppose my illustrations and ceramics are an extension of my personality…So yeah, boobs are totes funny.” “I do love animals, and always have. At one point in my country bumpkin childhood our family had three dogs, a cat, two ducks, a hedgehog, four horses, three gerbils, uncountable stick insects, a swan and two goldfish. Animals are the best people.”
Photographer: Alana Dimou www.theeyecreative.com
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So, not only is Maggie a total knot-tying wizard, she’s an insane ally in the fight for women to buck against the social pressures and expectations and to just do us. Power to ya, sister.
down allowed her to explore a different aspect of her creative self. Typically operating at breakneck speed, and being more comfortable on the go and full to the brim, this change in pace initially left Mags feeling a little lost. Having to work from bed for a As we all know, not all solo artists love just bustin’ out short period in which the pregnancy was really at hit after hit, independently, and being front woman its peak, Maggie found herself playfully, and without of their own one-woman show. Although Mags expectation, exploring creative knots and colour play. expresses that she does indeed love the creative “I started wrapping cord with colour and creating freedom, the space to express her own individual soft macramé sculptures called ‘Joy Knots’ … the story and visions, and the time to internalise and idea for them is all about inspiring joy through the tune into herself (which Middle Aisle grants her full intersection of the different colours and the softness permission to do), she of materials used”, Maggie acknowledges, totally and as she reflects on “I think there is something shares utterly, that Think Thorbury the process of slowing is a team effort. It’s a labour really wonderful about being a down and discovering new of love for the lovers who possibilities within her creative alongside the natural artistic practice. labour, but Maggie and Josh have fashioned a process of feeling your body Creatives like Maggie little corner within their do what it was genetically community where Thinkers prove that life, and all its are welcomed in with provide infinite programmed to do. Feeling phases, open arms and big smiles. inspiration for our creative Like all of the best solo kicks, seeing my body grow, journeys. Life is truly about artists (think Yoncé) they the ups and downs, the my energy level and brain come alive just as much monochrome and colour, when they’re in a duo (or, soft and hard, the processing changes have been the in Maggie’s belly-growing surrender and the hustle. confronting, as well as really I, for one, can’t wait to see case, a trio). So … if we keep rolling with this metaphor the next chapters empowering. I love the idea what Josh offers the ‘Destiny’, her inspire for Middle Aisle gorgeous and ever growing that women can create life and Think Thornbury, but bump brings the ‘Child’, and something tells me it’s this delightful trio are makin’ and also be powerful creative going to continue going all kinds of amazing music from strength to (knotted) forces at the same time”. together. I know, I know, strength. metaphor nailed. In serendipitous timing for the festive season, Maggie speaks openly to me about how her recent Maggie’s Middle Aisle creations and the beautiful dip into the motherhood pond has changed the way space at Think Thorbury are the perfect place to the works, seeks, loves and creates. Now 6 months snag gifts with thought and intent, that honour pregnant with their first bubba, Maggie finds her sustainability and spark a greater sense of ‘more’. Do entire approach to creativity and expression has yourself (and others) a favour, and get acquainted. shifted. Maggie has had a few challenges during her pregnancy, experiencing hyperemisis (severe You can find Maggie and her knotted creations at morning sickness) that would be enough to throw @middleaisle; or pop in to visit Josh, Maggie and anyone off their routine! But, ever the optimist ‘bump’ at @thinkthornbury and at 800 High st, and ever the girl who seeks inspiration within any Thornbury, Vic. situation, Maggie found that this forceful slowing
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Photographer: Sophie Timothy www.sophietimothy.com
www.theeyecreative.com
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Organised Fun Models- Kitty Tang and Azza Hassan Photographer- Kitty Tang and Ellie Vallely Funky Earrings- Elise Brimer
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Organised Fun Models- Kitty Tang and Azza Hassan Photographer- Kitty Tang and Ellie Vallely Funky Earrings- Elise Brimer
www.theeyecreative.com
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leah bartholomew words by ashlea codner
A potato printer from way back, Leah Bartholomew was destined to a life of art and craft! After learning that her father was a painter and her mum a craft lesson guru I could tell that she was not refined by any boundaries with her creativity as a child. “My earliest most influential memory is whenever I would say I was bored, mum would send me to our collection of Childcraft books and I would follow one of the craft projects. I got really into potato printing and would create bunches of repeated patterns on fabric and paper”. Leah’s art has been on high demand from a young age. “My first sales of artwork started with 5 or 10 cent drawings of Poochie and Garfield in primary school…hahaha!! It was never going to be any other way that I would follow a creative path”. Like many of Australia’s most exciting new talent, Leah spends a lot of time in the creative hub of Melbourne but Beautiful Northern NSW and its surroundings is where she calls home and like most Byron Bay locals she is proud as punch. You can find her sipping margaritas in cute little bars, BBQing in the hills with friends or jaunting around Australia’s most hipster markets and op-shops. Soaking up the amazing natural landscapes this part of the world has to offer is where Leah finds inspiration. Her creative rituals always involve music, quality outdoor time, the rocks at the beach or somewhere that exhibits the glorious flora and fauna that the Hinterland flaunts being some of her favs. A caffeinated walk up to Byron lighthouse each morning is one of the things that helps give her the opportunity to balance time in the studio where she has been working on projects back to back this year. Although, Leah boasts that her light-filled studio is where the magic comes to life and it is easily her favourite place to be creative! I am fascinated by the intricate process that is involved in her art, I will admit that when I saw Leah’s name pop-up in our emails I was super excited. I would have shamelessly pleaded (probably would have paid) to write about her. When I was researching (not that I needed to do a whole lot- I was fangirling years ago) I recognized Leah has a way of compounding abstract, modern art and nature in a way that is presented so realistically. I find her work to be enchanting. I was busting at the seams to learn about her arty-crafty process (also find out her favorite colours, all her hobbies, what take-away she eats and possibly get her phone number so we could be friends). Now that we are friends, I am happy to share it with you all.
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“I literally take thousands of photographs of flowers and plants everywhere I go… I try to print them so I can quickly refer to them and be reminded of the place I was in. For me, flora is so evocative of a place. It could be the banksia around the Byron headland I see on my daily walk or the fluorescent green forest I’ve walked through in Portland, USA or an English garden I’ve seen on the walk to the train while staying with a friend in London. I try to coincide my collection of photographs with the paper collages I’ve made while in that same place. For example, after my hike in the mountains behind Portland where I was immersed in a sea of green tones in the forest, I returned to make a collage with every tone of green I could find. That spontaneous collage immediately takes me to that day of hiking. “My small mini paper collages always inform my large-scale abstract paintings. I try to replicate the spontaneous placing of colours next to each other and paint the raw torn edge. My collages are like photographs or a diary, they immediately take me to a time or place and admits that some pieces have been a little harder to part ways with, so she has held on to a few! From my photographs and collages I then begin the process of trying to build a balanced composition with both flora and abstract shapes. I’ll generally do a quick sketch of how I will want the artwork to look, but believe me, it always changes!
Photographer Mindi Cooke Stylist: Carlene Dufft for Cedar and Suede
www.theeyecreative.com
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“I’m super keen on Japanese graphic design (bold colours and text running horizontally and vertically), so I get a lot of my inspiration for backgrounds from that, which now that I think about it, is a very random mix of influence, but it works!” Those pink and orange hues shaded behind the detailed black and white line work are a juxtaposition of such clashing contrast that in theory, they shouldn’t work; but as Carli herself said, they most certainly do. That random mix of influences (Georgian Britain and Japanese graphics) make her sketches jump off the page and give her drawings an edge that allows her, as an artist, to stand apart from the rest; and in my eyes, the colours and linearity combined have enabled me to recognise her in her own right – they’ve become synonymous with her work, ultimately resulting in a unique style. And I’d go as far as to say, metaphorically, I’d recognise a McMartin in the same way I would a Rothko.
“Whatever gives you that rush when you finish a piece that you’re so proud of – do that. No matter what the trends are or what comments people say about your work, just keep going and the people that need your art will come.” Despite the majority of her portfolio having its origins in British architecture, Carli has more recently added some Canberra Originals to her collection to show a little love of her hometown. “We’re a little light on the historic buildings here but I chose three of my favourite original Canberra buildings from the 1920s and I’m pretty stoked with how they turned out actually.” Her Canberra Originals sit alongside her Houses of Britain collection quite comfortably, and if you were none the wiser to the logistics of the illustrations you could quite easily be forgiven for your ignorance as her style effortlessly transfers across both design periods – in other words, she’s so good at what she does, and her line work is so spot on, that you’d barely notice her Canberra pieces weren’t part of the British collection. And that could actually be the nail on the head for why her designs are so special – the detailed simplicity of the lines.
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“To be honest, I just love the simplicity of the lines. And like I’ve mentioned, when I draw these buildings that have amazing style and façade decoration, the linework captures their character perfectly (well to me anyway) and I feel they don’t need anything else to jazz them up (except some background colour and text here and there). I want people to see the building in its raw state, rather than focussing on the material it was made from or the colour of paint.” Although she’s clearly talented, like most artists, earning a full-time wage from a creative passion is pretty damn difficult, so while she figures out a way to make tonnes of money from her illustrations, Carli works part time in an office job so she can put food in her belly and clothes on her back. That said though, she can’t wait till the day she can stick two massive fingers up to the corporate fat cats and join the thousands of other creatives working hard for themselves, doing something they love. “I am no way suited to the corporate world (I hate working for someone else!), so I’m working super hard now to get my illustrations happening as a fulltime gig – that’s the ultimate dream, and I’d advise anyone wanting to make it in this industry, particularly illustration, to just draw what you want to draw. “Whatever gives you that rush when you finish a piece that you’re so proud of – do that. No matter what the trends are or what comments people say about your work, just keep going and the people that need your art will come.” Crediting Instagram in allowing her to get her illustrations out there and build a loyal following, Carli says that social media platforms aren’t just great for marketing purposes, they’re fantastic for inspiration too. “Instagram is great. I always think about how I would have lived if I was around 20/30/40 years before my time, and not had this entire community of inspirational people to look up to and connect with. “Instagram has probably helped me with my own creative journey more than I have got back from it at this stage - I’m always left so motivated by following fellow creatives from all over the world, knowing we’re all out here doing our thing and everyone is so supportive.” carli.mcmartin
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www.theeyecreative.com
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