The Eye Creative Issue 14 | December 2018

ISSUE 14 | DECEMBER 2018

The Mindful Watch Company 100% of profits support youth mental health

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FOUNDING EDITOR

SAMII LUND I N F O @ T H E E Y E C R E AT I V E . C O M

HEAD EDITORIAL WRITER

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on the cover A RT I S T : R E B E C C A F L AT T L E Y @ R E B E C C A F L AT T L E YA RT R E B E C C A F L AT T L E YA RT. E T S Y. C O M

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contents

ANGUS & JULIA STONE 33.

TA M M Y K A N AT 38.

BAMBA BAMBA 97.

C O N C R E T E J E L LY F I S H 14.

BENNA CO 24.

CARLI MCMARTIN 88.

BEA BELLINGHAM 50.

NICOLE MILLAR 22.

CARLA MCRAE 42.

SQUINT 70.

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discover these amazing creatives and many more within the next 94 pages...

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not your average editor's letter...

For those that are following along, I took a mighty giant leap in the previous issue when presenting my Editor’s Letter. Unconventional? Sure. Uncomfortable?

For me, definitely. Helpful? As it turns out, yes...yes it was.

With all the fear, anxiety and doubt coming at me like seagulls to a chip, the result of the letter was something I never thought would happen. My mum has always said I don’t do things by halves, and maybe that’s because I’m a strong headed Leo, or maybe I’m just trying to prove something to my younger self about self-importance. Either way, writing this letter and putting it out there in the world was as good as a first sip of coffee in the morning.

Actually, I’d never thought I’d say this, but it’s even better.

To feel free is something I’ve constantly dreamed of feeling. If I was to go back through my facebook memories from the early years, all I would see are aspirational posts featuring mountains with words plastered on them like ‘I want to see the world, change the world, feel the world” and “trust your intuition, it’s on your side.” I’ve always been someone searching for more. It’s as if I’m on the eternal hunt for happiness, freedom and success - whatever that may mean at the time. It’s just who I am, I don’t know how to be anything else.

I had a very quick, but very eye opening conversation with my incredible partner last night. During this convo, I said out aloud for the first time (or spat the words out after a couple of glasses of rosé) that I had been forced to be a different person twice in my life and that the person that I am now is the third version of myself that I have known. It seems a little left-of-centre, but trauma does this crazy thing where it drastically alters your entire world in the blink of an eye - and everything you thought you knew before is no longer true. It’s like a lightning bolt hitting the ground in front of you, and BOOM the world changes.

It made me cry a little on the inside, knowing this is how I was feeling. I’m unsure why I was upset, it’s not like I’m unproud of who I am. The thing is, as I’m typing this and reflecting on those inspirational quotes I was posting in the early years, one sticks with me. When I was 23, I posted on facebook this quote: “I don’t totally know where I’m going, but that has never stopped me before.”

Now, to any other human, this is just another mediocre quote downloaded from Pinterest. It’s basic really. But not to me. Looking back on this quote, I remember who I was at the time I wrote this, and it makes me really damn proud of how it’s shaped me and how I am who I am now, because of that sense of wanting more. (trigger warning for mental health/ abuse ahead).

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When I was 22, I found someone who I thought was pretty darn great. He put the sunshine in my world, made me feel like I was a piece of lost treasure he’d been searching for his entire life. He made me smile like I had never smiled before. So naturally, I fell head over heels in love with him.

Turns out, I got punk’d. The slow, constant control eventually turned that strong, confident girl into nothing. He grinded me down emotionally until I was too lost to find my way. He told me no one loved me, no one cared. Only he could love me. I was told I was fat while being poked at my stomach standing naked when I was a confident, body positive 55kg. He led me to believe him and everything he told me. He made me believe I was worthless and had no voice, and that no one would believe me anyway.

My prince charming turned into a real arsehole at midnight, and there was no fairy godmother around to save me. I’d lost the ability to tell right from wrong and reality from hell. I stood up once, and then swore I never would again. It wasn’t worth it.

I learned to keep my mouth shut and to say yes to everything, even when my body was screaming out no. I learned that blocking it out was better than the consequences. And he was right, everyone I told said I was being dramatic - so that must have been the truth...Right?

Deep down, overshadowed by all the pain, doubt and hurt, there was a little lion meowing softly telling me I was still alive. That I still mattered. That there was a way out, and I was destined to find it. Over time, that little meow grew louder and after what seemed like an eternity, I found the courage to leave. That was the day I posted that quote.

“I don’t totally know where I’m going, but that has never stopped me before.”

It turns out, I may look back and say the world changed me twice, but the truth is, I’m proud to say that I've always been that strong, full-hearted, aspirational human that posted that one ‘basic’ quote. I have always been her. She has always been me. Sure, the trauma has shaped me and taught me things about the world that I would never wish upon another living being, but the strength of knowing who you are is worth more than any judgment another person can cast upon you, or any damage they caused to your body and heart.

This is our truth. We are who we are, we create as we want and how we feel, and we should be damn proud that everything creatively that we do is shaped by our deep desire to show and celebrate ourselves as we are. Without being judged. Even if that means you need to find your way out of the dark to do it.

Samii xx

If this article has brought up any issues of your own, please contact Lifeline on 13 11 14

julie white hellojuliewhite

Should you decide that your feet need to be wandering in an infinite field of flowers (And why the hell not, really?) Then, say hello to Julie White. These light-weight, printed socks by the talented Adelaide designer and artist will undoubtedly create a lifelong love story between your feet and the unique patterns in which adorn them. Available in a range of patterns and colours to complement any style.

black chicken remedies This is my favourite product EVER. Well, let's be honest; it's the product of the moment, until I move on to the next thing because I'm a magpie with a small memory bank.

However, for those looking for a all-natural deodorant paste, this is definitely the product to buy.

It smells like a garden - a really lovely smelling garden. It’s in fact the ideal gift. PERFECT. I’d be the happiest person if I received this under my tree to replenish my stock. (I have three already just for when I run out - but four would be nice...you know in case of emergencies, like the zombie apocalypse or something.)

blackchickenremedies

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study tea Study Tea is the freshly created and carefully produced tea that your tea-loving mates will fall madly in love with.

With blends like ‘‘siesta’ and “reset” - these teas are thoughtfully crafted to benefit your mind, body and soul.

Unlike the name suggests, you don't need to be studying to enjoy it's benefits. I mean, they even have chocolate tea. Perfect for indulging everyday - because sometimes being awake is hard work and you need to treat yo' self. studyteaaustralia

castle & things It's damn nice in Rachel Castle's world, isn't it?

Spend less than half an hour on her website - I dare you. I swear it cannot be done!!

This is just one of the stunning products that are available on her site right now - an amazing beach towel stating the obvious in a really fabulous manner.

Be the envy of all the beach-goers this Summer with this crazy good beach towel - or jump onto Rach's site to grab yourselves a number of other goodies - all equally as amazing. rachelcastleandthings

www.theeyecreative.com

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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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Photographer: Georgia Wallace Model: Ivy Reynolds @elizabethivy Makeup: Sarah Smith (Make me Over Artistry) Hair: Felicity Scruton Stylists: Rene Skelton & Libby Frederickson

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“My dad was a builder so I used to go into his workshop and make things out of scrap ply and nails. Mum loved to sew and decorate so I learnt to sew from a young age and would make my friends presents. Some hilarious neon pink and silver star bikinis came out of that phase in my life.” After growing up Rene made the move to Brisbane, which she always thought of as the exciting big city down the road, admitting that since calling it home the charm has never worn off. “I love Southbank and the gardens in the city but I really love Brisbane as a whole. My favourite place to hang though is Sunnybank. I am a crazy foodie and all my favourite local spots are out there.” A foodie myself, I get slightly distracted for a moment and start googling must visit food haunts and begin planning a day trip before I remember I have a deadline.

and figure out what I have to do to make it happen. I see my pieces as miniature sculptures that instead of hanging on a wall somewhere are walking the streets.” Mulling over design ideas in her head, the birth place for any new piece, she can spend weeks or months figuring out how to make it work. After sketching she will digitise the shape and form to help mock up colours and sizing before starting the real thing. “It’s quite a process but it’s the most fun part.

I use a variety of techniques, a lot of them I have stumbled across from trial and error but the standard is making a 3d form and then making a mould to pour in. Then there is lots of colour trials and perfecting.”

Using a long list of ever changing materials, Rene loves resin for it’s colour possibilities which she describes as literally limitless.

“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’.”

Concrete Jellyfish was born through the combination of realising she wasn’t crazy enough to continue undertaking a law degree with two small people at her feet and a stern word from her husband. “He said, it’s time Rene. I had been talking about having my own creative business for years. We had previously started and run a café in Milton so I knew the ins and outs of small business and thought he’s right. It’s now or never. And I haven’t looked back.” A long time lover of jewellery, having been making her own for years prior, she knew immediately she wanted to make earrings, from resin in particular. “I had been using it for about two years as a hobbyist. I also knew I wanted it to be Australiana, I am a huge Ken Done fan and love all things Australian flora and fauna. I also wanted to it hold a deeper message, not be as vacuous as fashion can be.” And the brand name, well that came from what children do best, eaves drop. “I was having a conversation with Paolo, my husband, about resin and how I wanted the name to reflect it’s properties but still with an ode to Australia. I was saying how resin is fluid like jellyfish but hard like concrete and my little eaves dropper piped up and said why not Concrete Jellyfish. She’s a gem and very proud of that one, she tells every second person the story.”

Rene’s earrings are larger than life. They are the hero piece to any outfit, the ace of spades you pull from your collection when you want a pick me up.

A conversation starter, boundless in concept, she describes her creations as wearable art. “I think if it can be imagined, it can be made. I don’t design to the constraints of my medium, I design something I love

Whilst she has made other accessories in her time, earrings have felt most natural to her, admitting a customer summed it up perfectly when saying earrings don’t discriminate.

“They fit everyone and make everyone feel special.”, she adds. Birds feature heavily within her range, from the delicate right through to the oversized statement Oh So Kookaburra because, to put it simply, what’s not to love?

“They are beautiful, clever, funny, fancy free, cunning and a million other things. To me they are a perfect example of nature at its best.” Coral and koalas, cabbage leaves and Dame Edna Everedge, nothing is off limits for this quirky and kitsch visionary, the fun laying in the playful execution. “I love the fact that people have to look twice. I compare it to speaking in a soft voice, people have to listen harder and pay more attention.

Art is in the intrigue.” Collaborations are something Rene treasures, putting it purely down to being an art addict. “I just love art! Collaborations for me are an opportunity to work with people I really admire. I love the rush of people seeing their artworks in new mediums and working with someone to push my skills and grow as an artist myself. Ken Done would have to be up there for a dream collab.”

Whilst the art is obviously the feature, her choice of collaborators runs deeper, choosing artists who are trail blazers in one way or another. “Fashion is pretty ruthless and fast fashion is definitely a huge problem, so for me to create something that holds more meaning might in turn mean that people are more likely to treasure it and hold onto it, not adding to that disposable fashion cycle.”

www.theeyecreative.com

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concretejellyfishco

One such relationship Rene has forged is with Rachael Sarra, an indigenous artist doing amazing things for her community and our country. “Rachael is a legend of a human. The stories she tells through her work and how she shares her culture through them, just makes my heart sing. We wanted to make a collection that really showed off Rachael’s culture and stories, uniting women through fashion. It was a huge success and all going to plan NAIDOC 2019 will see us working together again.” It doesn’t stop at their artistic alliance though, their family heritage more in sync than either knew. “Rachael’s heritage is Goreng Goreng (Bundaberg) and Italian and I am from Bundaberg and ended up marrying Paolo who is from Genova, Italy. It all just felt like it was meant to be.”

As her brand has risen faster than she anticipated inside the last two years, thanks to the thousands of hours, late nights and sacrifices she’s made, her biggest pinch me moment came from seeing her earrings on the Romance Was Born closing runway

show of Melbourne Fashion Week. “I am a huge RWB fan so this was such a treat!” Rene shows she’s not just interested in self gain though, donating a portion of her proceeds to The Stars Foundation supporting young Aboriginal and Torres Straight Islander women noting, “It’s an amazing organisation.”

As I wind up this article, I must share that I had the pleasure of meeting Rene at the Finders Keepers market in Brisbane earlier this month and let me tell you first hand, she’s an absolute firecracker.

Hilariously honest and infectiously disarming, we spoke about the guilt of chasing creative dreams with small kids in tow, her advice sound, “I call it ‘Shit Mum Guilt’ but you have to kick it to the kerb.” Noticing I was wearing tiny studs and sensing I needed a push, she gifted me a pair of her most “non-earring earrings”, a tiny transparent resin drop to get me going but let me tell you, I’m already saving for a giant pair of everything, even if only to adorn my ears for kindy drop off. Safe to say, I’m in love.

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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Photographer: Georgia Wallace Model: Ivy Reynolds @elizabethivy Makeup: Sarah Smith (Make me Over Artistry) Hair: Felicity Scruton Stylists: Rene Skelton & Libby Frederickson

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Using only the best botanical oils and blends to make the most sublime natural skincare.

At Ena we believe in a genuine approach to skincare. We deliver a luxurious range of all natural skincare that you can be confident will not contain any nasty chemicals or synthetic fragrances. When you buy an Ena product you know you’re getting skincare that is as close to nature as possible. Made in Australia. @ enaproducts | enaproducts.com.au

nicole millar

words by amy farnworth

Pop music with an edge. Those five little words describe perfectly the style and sound of Sydney’s Nicole Millar. Tipped for stardom way back in 2014 after a hot collaboration with Peking Duk on the track, High (which she also co-wrote with the band), the Canadian-Australian singer-songwriter released her first album earlier this year, and since then, single, Issues, has catapulted her into the limelight and up the Aria charts.

“I was so lucky with the collaborations I did in 2014.

I had no idea what I was doing; I was just writing whatever came to my head; I had no idea you could make money from music and didn’t expect that song to be such a success. I quit my job working in a pressed juice store and decided to take a risk of doing music full time and I guess the hustle worked.

I’m still the same girl just a lot wiser and more in control.”

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Excuse Me, was released in June, and Nicole says one of the best parts of creating and recording the album was the freedom she got to experience throughout the process. “I got to travel to Sweden and LA to write my LP, and work with a lot of credible writers and producers, working with fresh faces. I hate being stuck in the same place, so creatively for me I need to work with new people and let myself be vulnerable in those situations.”

Her album sits on a par with others in the same genre, drawing subtle comparisons with the likes of Halsey, Vera Blue and Amy Shark. With 15 songs that offer spunky, fresh, electronic pop with a hint of ironic sentimentality, the dreamy melodies and catchy lyrics in which she sings frankly about relationships, life, love, lust and friendships, sit well within the genre she seems to have adopted. Some would be mistaken for thinking though that her synth fuelled offerings were par for the course for an artist of her stature: a projection of admiration, imitation, and emulation of her peers, from someone who appears to love contemporary electronic pop, but Nicole’s influences are a far cry from the musical genre she is considered associated with.

“Ahh, there’s so many influences, so many people I admire creatively – there’s so many boss women as well, like Shania Twain, Gwen Stefani, Shakira, Rihanna, Destiny’s Child; and I’m obsessed with Lykee li at the moment.”

Although she takes creative influence and direction from a range of hit-making popsongstresses from the past two decades, ultimately, Nicole likes to be in complete control when it comes to the direction of not only her music, but her fashion sense too. And what a fashion sense she has – not afraid to experiment and think outside the box with her clothing, she infuses casual chic with a subtle risqué look; her wardrobe clearly a smorgasbord of eclectic variety.

“I definitely think Australian artists should try and see what other countries are down for their music, it’s so easy to put your everything into one country and of course Australia is awesome for music, but why not see what else you can achieve.”

“I style myself; I find brands that I love, mainly small designers; some are even still at school, and we collaborate in designing outfits for my shows. I love taking control in the styling department, in videos and all-round. I also co-direct all my music videos as I’m quite controlling when it comes to the look and feel of music.

“In terms of musical genres though, my style has definitely developed over time and it still is. I think it’s great if an artist knows their niche sound and look but I do always think it’s great to think outside of the box every now and then and surprise people. I think as

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I’ve grown older, I want to mature my music a little, so we shall see what that means when I create it, I guess, haha.”

Adamant she’s going to keep moving forward with her sound, her foray into the world of music wasn’t necessarily conventional.

“A friend from school had asked me what I was doing on summer holidays one year, and she asked me to come to a singing camp type thing. The teacher pulled aside my mum afterwards and said I should continue singing and I loved it. I had always been randomly writing songs not thinking much of it, but I guess after putting music online and networking, I got into it professionally.

“And yeah, I write all my own stuff.”

Nicole has toured relentlessly over the last few years, gracing various venues across the country, but the 25-year-old admits that one of her favourite places to gig is Perth.

“I’m not sure why, but Perth is always so fun, they have a great music scene there.”

After playing Splendour in 2016, Nicole will be hitting the mainstream festival circuit once again this year, playing Beyond the Valley in December.

Determined to make a name for herself on the live music scene, the talented musician had already supported the likes of Troy Sivan and Japanese Wallpaper, and more recently Sophiegrophy and Oh Boy. But at the start of next year Nicole is due to head out on tour with Brit boys, Bastille, which she hopes will gain her some new fans from across the pond.

“I definitely think Australian artists should try and see what other countries are down for their music, it’s so easy to put your everything into one country and of course Australia is awesome for music, but why not see what else you can achieve.”

Enjoying a collaboration or two (see the aforementioned Peking

Duk), Nicole says she’s massively into sharing the writing and production space with someone else as it makes the whole process more fun, providing an arena in which she can bounce ideas back and forth with a group of like-minded people. And she’s not backwards at coming forwards in voicing who she’d like to collaborate with next.

“Lykee Li, I mentioned her before, I’d love to work with her, and her album So Sad So Sexy is goals haha.

“I’d also love to work with The Weeknd.”

With Spotify et al making it harder for artists to make money fast, meaning they have to spend relentless hours touring and selling merchandise, it’s also difficult for new artists to carve a credible name for themselves.

One hit wonders pop up like kangaroos and disappear just as fast; and albums are produced and consumed by listeners at such a rapid, superficial pace that sometimes they risk being missed altogether.

Harking back to her LP then, Nicole explained how she’ll do what it takes to keep her fans happy and explained how she feels about the concept of an album as a whole in what some would consider to be a time when full album downloads and purchases are in a steady decline due to the rapid uptake of streaming and instant gratification; a zeitgeist where music has become, for want of better phrases, ‘throwaway’ or disposable’.

“I think some consumers appreciate the artistry of a full album, but I really do think people want music and a lot of it regularly.

With streaming these days and all the playlists, people want a song a month to keep fresh. I’m happy with both, it works well for me because I always want to put more music out fast, but I do love a good vinyl as well.”

Safe in the knowledge that Nicole is going to continue pumping out the tunes, it’s encouraging to know that if she wasn’t writing lyrics, she’d still be pursuing other creative avenues.

“Writing is a form of therapy for me; I’d still have to write my feelings down in some form if I wasn’t doing music. But I love Pilates, so maybe something in that field, something still creative; but I could never go back to something where I wasn’t in control.”

nicolemillar

With Excuse Me riding high, and the air time allowing listeners to fall in love with her sounds, Nicole’s advice for budding artists trying to make it in the music biz is simple: “I have so many talented friends that are too scared to do anything with their talents.

I’d say, just go for it, stop being scared and stop being such a perfectionist.”

www.theeyecreative.com

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benna co. “ W E H AV E J A C K E T S ...”

words by charlotte goodsir Finding your identity is something that takes a long time. You’re born with no self-awareness, staring blankly at the other alien baby copying your movements in the mirror; soon you learn that it’s your reflection. Through your formative years, you no doubt go through the compulsory phases of self-discovery. First is the “Goth” phase, closely followed with the “no-one understands me” phase, this swiftly transforms into “yes I only read Sylvia Plath,” sometimes accompanied by the very character building “smoking behind the school building”, not to be confused with “sipping on some sugary guava flavoured Alco-pops” weekend. Along this winding road of puberty, bad decisions and adulting you learn more about yourself. What you like and dislike, what makes your stomach crawl (like people that season their food before they taste it), and what makes your heart burst with joy (dog videos and unusual animal friendships FTW). Personally, at 23, I don’t think I’ve really found my identity yet. Currently, it’s a pastiche of listening to 2013 One Direction songs, Birkenstocks, Latin American Divas of the 70’s and 6 am yoga classes. It feels not dissimilar to a series of masks that change depending on whose aroundwork colleagues, friends, family. It changes day to day. However, one thing that remains constant is to find out who I want to be and finding inspirational people who inspire you to be better.

‘Having an artistic practice gave me a purpose other than raising children, and I was no longer solely ‘Mumma.’ So many women struggle with the loss of self during the mothering years, and I think that having something that you do outside of raising children, is an absolute lifesaver and mental health improver.’

One of these people, a spectacular human who has so beautifully ignited their creative energy into art is Kelly Murphy, a ceramicist from Melbourne. Prepare

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for your heart to be warmed, for sparkles to burst from your chest as we discuss her business, Benna Co, identity and motherhood.

Like so many people, Murphy felt overwhelmed at the prospect of starting university, and instead of blackout Europe trips of self-discovery or wailing about like I did, pursued a visual arts course at TAFE, where she learnt all of the basic skills that she now so heavily relies on. These took a backseat, however as she tried a variety of different jobs, exploring her own identity, always knowing that there was something more satisfying that she could do.

With this knowledge Benna Co was born, initially as a vintage homewares business. ‘I was pretty handy with tools and so began making my own furniture from discarded timber and steel frames.

There was enough interest to warrant a bit more of a commitment from me, so I combined the furniture making and restoration with my love for collecting vintage homewares and added plant selling to the mix. Pretty soon I was unable to keep up with the demand for vintage pots, or for wall hangings so I decided to make my own. That was just two short years ago! The wall hangings came about from simply making shapes with cookie cutters, and those initial forms carry through my work today. Circles and ellipses are favourites. (One of) my favourite pieces is the mother and child wall hanging set. A large ceramic totem hanging with long Rapunzel linen tassels, and a smaller totem piece. Together they appear as mother and child, and they speak to my heart for sure.’

‘I’m also currently really enjoying my painter pots, for all of their rich drippy goodness and impressionistpainter qualities. Each side of the pot has so much to look at, and every layer of glaze reacts differently with each other giving more and more dimensions to explore. These pieces give me a chance to really get to know the glazes and how they react with the clay and each other. I’m also really digging my desert-toned spotty range, which I came to almost by accident when I was rushing to get some work glazed for firing. Like a really excellent outfit thrown together without looking, the glazes just worked together and I was on a deadline of about eight minutes to get the work to the kiln for firing, so there was no over-thinking it. Sometimes impulsivity and lack of planning works!’

But what happens when impulsivity isn’t working or just can’t get into that creative Zen? "Usually if I feel blocked I will move some furniture around, rearrange the mantelpiece, pick some flowers, tend to my plants, sweep the courtyard. All of those things move old energy out of my space and allow new energy in and I’m a big believer in recharging a space to recharge yourself. Some people swear by smudging, I swear by redecorating!

Works miracles! I also took up ceramics to get around the block!’

Photo by Ribbons & Paper Photography

‘I stopped painting when I became pregnant with Odi about 7 years ago, so that I could take extra workwork and I didn’t pick up the brushes for a year or two after his birth because painting takes so much time and brain space, which is in short supply with a new baby, and I didn’t want to embark on something I couldn’t tend to properly (…) it felt stiff and forced.

From that moment on I developed a fear of painting, because of that. (Yet) I was intensely creative in other ways, and ceramics opened up my creativity even more. The transition is pretty full-on, and we really do have to leave our old-selves behind and step into our new selves and it’s usually something that we are totally unprepared for. When I feel a little uninspired now I simply engage in play of any kind. I might make something for no reason, just to keep my hands moving even if my heart is not in it, and it doesn’t have to be with clay. A basket woven from garden scraps that get thrown onto the compost, some cookies cut into funny shapes. Little things that don’t mean anything other than to lose yourself in a task.’

The transition that Kelly mentions isn’t unique; rather it is something that many women face when going from their regular life into motherhood. Your world changes completely and momentarily strip you of your identity. You go from being “insert your name here” to “new mum, [name]” where your social circle changes from friends group to a mothers group and a big part of your life is looking after a tiny human.

Kelly elaborates, ‘Motherhood is a transformative experience. When we birth a new little human, we also birth a new version of ourselves as a mother. I think this time of intense upheaval and shifting of self can open up a lot of creativity for new parents.

I had a pretty easy run with my first, Odi. He was a really easy baby and Rob and I continued our lives pretty much as before, just with a baby side-kick. We took him everywhere and maintained a rich social life whilst I was on maternity leave, baking organic wholefood cookies and pottering about like a blissedout nature-mum. I didn’t feel the transition until my second baby Loki. He came along two years later with a dose of reflux and suddenly I was a very, very busy mother-of-two. No more dinner parties, no more pram at the pub, no more long lunches and late night conversations. I really did lose myself in the daily grind of it all, but in that year of second maternity leave, I began to restore and create furniture, which, in its winding path lead to ceramics whilst pregnant with my third baby Juda, and of course, quitting my day job.’

‘Having an artistic practice gave me a purpose other than raising children, and I was no longer solely ‘Mumma.’ So many women struggle with the loss of self during the mothering years, and I think that having something that you do outside of raising children, is an absolute lifesaver and mental health improver.’

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‘My workdays are so enjoyable! And I love market days and all of the adult interaction and so many interesting conversations. The people whom I encounter on market day are so lovely, open and warm and I really enjoy those interactions. I’ve also made lots of new clay-mates and I feel supported in the ceramic community. I couldn’t ask for more!’

Even though sometimes finding a balance between work and family can be hard, especially with our crazily connected world, where Instagram is both work and fun there was never a time when Kelly thought fuck it give me a 9 to 5! ‘I’ll be the first to admit, that a consistent regular wage makes life a hell of a lot easier, but the 9-5 is just not for me. I have only ever held full-time jobs in short-term and contract situations, and the permanent roles I’ve held have always been part-time so that I wouldn’t lose too much of myself at a job that wasn’t my passion.

I love being responsible for my own output, and the flexibility to take time out whenever I please. Sick days would be helpful though...’

Today, Kelly has three young children and her days are jam-packed!

‘I’ve always been an early riser, but since having kids my body clock has been set super early, and I wake up between 3-5 am, drink heaps of tea and work a few hours in the kitchen before the kids and my partner, Rob, get up. Once they are up the coffee pot goes on and Rob will tend to all of the emails from the night before. He has his own business, Templa, (an urban and alpine outerwear business,) so we are constantly juggling work/kids together. I access two days of childcare per week, and on those days it’s

straight into the backyard studio for uninterrupted clay work until school pick up time. On non-childcare days or weekends, we mix it up with family and work duties depending on who has the most urgent deadlines. I try not to work too much when I have the kids with me, but I usually end up trying to pinch out a pot or two whilst the kids draw or make clay animals (lots of snakes) or do some trimming and tidying of pieces whilst they play. Having three kids is a BIG job, and the associated housework is a full-time task in itself. There is a lot of noise, a lot of fussing and fighting but also lots of laughs, lots of dancing and so much love. We are a very full-on family!’

Talking with Kelly made me realise the type of human I want to be, someone whose cup is so full of love, joy and creativity that it flows into everything they do. If you feel the same here are her words to live by, “You can do anything you want. Also, you can learn the skill to make anything you want.” So get out there young creative, and create.

Need more Benna Co in your life? You can find her on Instagram @benna_co, where you’ll also find a list of markets she’ll be at in Melbourne.

Sydney babe? She’ll be in the end-of-year group show ‘Casa’ at Saint Cloche in Sydney Dec 5 - Jan 6. Catch you there for the Kelly Murphy fan club, we have jackets.

benna_co

www.theeyecreative.com

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julia stone

A M O M E N T W I T H AU S S I E D A R L I N G...

words by eliza spencer

The Indie-folk darlings of the Australian music scene, Angus and Julia Stone have been giving us heartfelt tunes since the early 2000s. Whether it’s a memory of your first kiss as ‘Big Jet Plane’ plays in the background or jamming to ‘Just A Boy’ in music class, their records have been the soundtrack to high school romances and road trips the world over. Fresh off the European leg of their Snow tour, I spoke with Julia Stone on a misty Sydney morning, the perfect setting to chat with one of Australia’s most loved artists.

Pottering around during our conversation there was an occasional breakout of giggles from Julia, admitting she very nearly fell off her chair while talking about the reception of their latest record, Snow. ‘We were pretty excited about the record and to see such a nice response from everybody. It’s been great...

Out of all the records Angus and I have made, has been the most collaborative and the most representative of who we are as artists and writers and producers.’

The record has taken them across the world, and Julia says it’s been surprising to see its popularity in unexpected places. “We play everywhere… in Spain and Turkey and Norway and they're all different. We played a show in Egypt on the last tour and we played to maybe 500 people in this really odd resort environment.

It was an outdoor venue on the beach in front of a resort and we were just like, "What are we doing here?" Then people sing the words to the songs and it's a strange thing. Shows vary in size but

people who buy tickets to come to your show, whether you're playing in front of a hundred people or thousands of people, they're there because they really care about your music and it means something to them.”

“I think particularly for this style of music, there's an element of coming to have fun and dance, but there's also a lot of people who connect with the lyrics or it's meant something to them in their life. We’ve got a really respectful crowd pretty much wherever we go and that's really nice. It ties into

"...the level of real intimacy in a music performance is playing songs in your living room for friends. That's when you show up.” this belief that I've had for many years, and particularly now after traveling as much as we have that, regardless of language and culture, every human being experiences the same range of emotions about love and loneliness and beauty and fear and all of the things that everybody goes through, are relevant wherever you stand on the globe.”

God. I have to reveal myself in front of people," is when I can really see people close up. So, smaller shows, that are only for 100 people or 50 people, that's when you can really feel people right there and their response and their reaction.

That's how we started. We started doing mic nights and there's something to that.

There's a reason the Rolling Stones still do secret shows at capped venues because they want that feeling and they don't get that in a stadium. Obviously, we're not at that level but.. the level of real intimacy in a music performance is playing songs in your living room for friends. That's when you show up.”

Performing their music to pubs and stadiums alike, it’s been a journey of twelve years for the two and according to Julia ‘it’s taken us all of this time to be comfortable in our own skin… To even get up on stage to begin with, you have an element of confidence that you just have to have as a performer to even get up and sing songs about your heart in front of people.’

Performing intimate tracks like ‘Bloodhound’ and ‘Baudelaire’ to a stadium filled with fans may sound intimidating, but for Julia, it’s the smaller sets that hit home.

“It's funny to say but, for me, the vulnerability or the feeling of, "Oh

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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

tammy kanat

words by Courtney Rothberg

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 fulltime 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.

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 beginning of a new piece is always exciting with the prospect

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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.”

Photography by Emily Weaving www.emilyweaving.com www.theeyecreative.com

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Whilst the work itself is calm, her studio space is in juxtapose with an enjoyable sense of chaos amongst it.“Fibres are everywhere; colour is everywhere and it looks over a beautiful flowering garden with a waterfall. You could call it a chaotic space but the comfort of all those colours and textures at my feet make me feel at ease with so many choices around me to work from.” The way she describes having fibres at her feet reminds me of the advice Austin Kleon gives in his book, Steal Like an Artist. He suggests to always have separate analog and digital work spaces. The analog desk is a place of play, to draw, touch and feel. To explore and let the inspiration work its way out of you without any ability to hit the delete button if you don’t like something, Tammy seeming to have mastered this concept without intention. Time escaping her as she works, hours morphing into days and weeks, she couldn’t tell me exactly how long any one creation takes. “I like not knowing as I just want to do the process and make the work special. However long it takes is not important to me.”

Stumbling into the realm of weaving after looking for something particular for her home but coming up empty, Tammy was left with one option and that was to create the piece she was dreaming of herself. Taking a class to learn the basics, it was immediately evident that the hidden talent that was lurking below the surface. In 2011 she enrolled at the Australian Tapestry Workshop to learn the complex skill of tapestry weaving and her star rose from there. Having been a jewellery designer prior, this wasn’t her first creative venture that had shown promise. “For twelve years I loved being a jewellery designer and running my business ‘Mink’, however, I fell out of love with the creative side and it became more about the business than the art. I had to sit uncomfortably for a while until I found my new creative passion in weaving.” And there it was again, how your creative outlet being your bread and butter can be a real struggle. I had to dig deeper, to understand how Mink transcended from a fulfilling creative endeavour to a rigid business of numbers and bottom lines. Luckily, Tammy was an open book.

“When I first started creating jewellery, it was a creative outlet for me, with no expectations and no intentions. Very quickly others became interested in my jewellery and liked what I was creating. This was very satisfying for me and I enjoyed the support of my work. However, once the demands started growing, the fear slowly began to creep in. The thought that I was not good enough, my work was not good enough and I wanted to desperately please my customers with

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amazing designs at affordable prices. This was a hard goal and let me fall into the trap of getting disconnected with my creativity and why I started making jewellery in the first place.”

The further down the business rabbit hole Tammy went, the further removed she became from her authenticity.“It was no longer an outlet to express myself but a burden I had to worry about. Once you employ staff, have rent and bills to pay and customer expectations it is easy to get trapped.

There is no time for peace and clarity to create unique designs. It’s a double edged sword.”

Whilst she has admitted it was an uncomfortable time, walking away was necessary.“Once you do and make yourself vulnerable, you are open to new ideas to come your way. It is through this I discovered my weaving.”

Being very aware not to make the same mistake twice, Tammy now approaches business in the most conscious manner, sharing that the biggest obstacle she’s had to overcome to get to where she is now, is discipline. But not in the way you might think.

“...You could call it a chaotic space but the comfort of all those colours and textures at my feet make me feel at ease with so many choices around me to work from.”

“To discipline my mind to keep the focus on what my art is all about. It is art therapy for me. I do not want to get trapped in commercialising it and trying to please others. I want to stay true to my work and only create pieces I am proud of.”

Experience has also allowed her to remain honest about the imbalance she feels with running a business too, knowing the numbers side is not her strong suit so finding a suitable candidate close to home has been handy. “I find it hard to value my work. It does not come from a place of business rather it is an artistic outlet. It is for this reason my very helpful and humble husband has taken over the business side.”

Readjusting her course and staying true to her core values, the success she now experiences is that much sweeter. “I was very excited to design a rug collection with Cadrys and I also had my brush with fame and created a piece for Miley Cyrus which was fun.”

Other highlights in her new career were being part of the Milan Design week in 2017 and featuring as part of Meet the Makers by The Design Files, acknowledging it was a great experience and not at all daunting “It is easy to talk publicly about my

art as it is a topic I am passionate about and I enjoy sharing my story with others. Lucy from The Design Files is very easy to talk to.” As her profile has grown, Tammy is beyond thankful for the part Instagram has played in giving her a platform to share her work, leading to even more commission requests than she could ever have hoped for. “It has also helped my recognition as an artist. It has inspired me to keep pursuing my fibre art journey.

I receive so many incredible messages every day from people from all over the world. I have been fortunate to receive many commissions through Instagram and I feel so honoured that others are enjoying my creative path.”

Much like one of her incredible weaves, allowing the journey of your creative path to be fluid and intuitive can pay in spades. Know when to stop, step back and take a moment of honest reflection.

Even if you’re finally at a space you only ever dreamed of being, it’s okay once you arrive to admit it doesn’t feel right. Know it’s part of the process in getting you to your next destination.

If there is one thing Tammy Kanat’s creative career proves, it’s that success is as unique as the fingerprints you were born with. tammykanat

Photography by Emily Weaving www.emilyweaving.com www.theeyecreative.com

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carla mcRae Sometimes I wonder what my life would have been like if I’d chosen to pursue a different passion or career. I’m sure everyone does at some point or another. What if I’d chosen to ditch school and become a chef or even work my way through environmental science or analytical chemistry?

While these decisions would have surely changed where I am at this point in my life, there is one thing I know they wouldn’t have changed.

I would still be writing. Writing is my art form, and like many creatives, I know it’s something that will always be present in my life despite whatever ‘day job’ I take.

When I was eleven, I had what I thought was the best summer ever. I spent weeks at the family computer, alternating with my brothers, with an open word document, an open notebook, and my fingers gliding over the keys without any hesitation. There are plenty of people who would say this couldn’t have been a great summer because I spent it writing, but those people might not realise that writing was and still is a way for me to express and understand myself. That summer my characters were my best friends and I loved them, even my villains.

I wrote an entire novel and I still have a copy. It’s riddled with errors, plot holes, and is, in retrospect, absolutely awful. Regardless, it taught me a valuable lesson—not only am I a writer, but I can, if I apply myself, succeed.

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Years on, familiar with the editing and publishing process, I am much warier about taking on big projects.

A practical mind assesses the pros and cons of devoting so much time to writing in a time-poor lifestyle. However, that doesn’t stop me from devoting much of my spare time to my practise.

There comes a point in every creative person’s life where they must pause and make a decision.

Pursue a practical career or try and make something from their passion. There are always many things to consider when making this choice and sometimes it’s not a question of whether the person is brave enough to chase their dreams but whether or not they have the time, finances, and resources available.

Carla McRae, a Queensland born, Melbourne based artist, started off on the practical route. After high school, McRae completed a graphic design degree because, as her teachers told her, an art degree would be a waste of time. At the time she says she wasn’t even sure what graphic design was, yet it prepared her for her coming career not just in graphic design, but as an illustrator and artist.

After graduation McRae moved to Melbourne to get a job in graphic design—after arriving she found, much like her teachers warned her, she couldn’t find a job in her discipline. That isn’t to say McRae couldn’t find work, she freelanced

“A S E A R C H F O R J O Y ”

words by kayla gaskell while working in hospitality and later worked as a designer for the sock company, Odd Pears. She was hired for various design work, and, eventually, transitioned from freelancing part to full time.

McRae can’t pin down a piece where her illustrator career started, but she does attribute it to the blog she created while still in university.

She says she created the blog as a place to “catalogue [her] own work for [herself] and somehow, very slowly, people started to find [it]”.

It was a slow process, but McRae gained recognition and was hired for all kinds of work.

But art isn’t just work for McRae, it started as a passion and not only that, she is compelled to make art. She says, “It’s a way to spend time with and within myself. It’s the way I understand and process my experiences.” Creating art is a way to disengage with the stresses of every-day life. This is perhaps one of the reasons why so many creatives are continually compelled to make—making distracts from the negatives of the every-day. Not only does the act of making help them to understand and process experiences, it also helps others to do the same. This is why so many people who are not artists can still enjoy art.

Photographer:Tatanja Ross / On Jackson Street

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The roots of her career can be traced back to a childhood love of drawing and dreaming—McRae says that drawing was to her, “a really fun way to create my own worlds”. She kept herself entertained and found that feeling of satisfaction that comes with achieving something you truly want to. She says, “I found so much joy in it, I just never stopped!”.

Hearing McRae talk about finding joy in making art really hit home for me. While I am (and always have been) primarily a writer I have also spent my fair share of time throwing around paint and playing with pastels. Experimenting with colours has a calming effect, as calming, if not more, than the sound of my keyboard keys clacking.

For McRae creating art is about expression and communication. Art should make others feel something, whether that is the same emotion felt and intended by the artist, or something new. These ideas about art being an act of expression and communication extend across the arts with not only visual artists, but musicians, writers, and performers each working to communicate and express emotion and feeling.

A few years ago, I went to a show at the Adelaide Fringe called Vincent, which was, as you might guess, about Vincent Van Gogh. However, this particular show was a combination of dance and painting. The thing about Van Gogh is his life story, while quite well known, lends itself to artistic expression. Through

Photographer: Mark Lobo

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dance and paint the audience can see Van Gogh’s descent into madness, can sympathise with his experience, and can hear how his mind transforms through his letters to his brother and the show’s soundtrack.

The arts not only lend you a platform to communicate and express your emotions and feelings, they give you a way to process, explore, and understand them.

This is why creating art is such an important act, and one which should always be encouraged.

Myself, as a writer, I had a few truly inspiring “I-ama-writer” moments (and a few “I-am-not-an-artist ones too). I asked McRae whether she had any of these moments herself, but she said, for her, it was different.

“I think it’s felt more like an ongoing feeling of affinity with visual things.” She talked about finding solace in images—”certain graphics that [were] satisfying and beautiful”. She noticed that certain shapes and colours could have particular effects—it might make her feel “good and understood”. Growing up, McRae has met many like-minded people who have helped her gain confidence in her inclination towards certain shapes and colours, people who also feel creatively.

I can’t help but feel this was important in her development as an artist and would have encouraged her to further explore her artistic promise.

Photographer: Mark Lobo

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Photographer: Mark Lobo

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carla_mcrae

Much of McRae’s typical pallet is made up of rich colours, she has a self-proclaimed fondness for primary colours. She says it “feels good to use colours… Maybe it’s got something to do with growing up in the 90s.” She’s always loved strong colour combinations and likens the elasticity of colour to form—both of which she likes to experiment with for their ability to portray emotion.

McRae describes her work as “combinations of clean lines, strong shapes, and bold colour with simple, and honest intentions”. She says that much of her work is about an appreciation for the small everyday moments and gestures that can bring joy. “I think the spreading of positivity is so important, and I hope that my work makes people feel calm, and joyful.”

A favourite of anything is always hard to pick, more so with an artist who loves a variety of mediums.

McRae loves to switch things up which helps to keep her interested and excited to expand her practice.

But she also loves to paint murals: “I use house paint, a brush or a roller. I find it very satisfying to use my body and feel completely pooped mentally and physically after a full day of work.”

Together with striving for joy for others, McRae also strives for joy herself. She says she feels most at home when she’s “really deep in the flow state of drawing. That is when I feel myself let go of selfconsciousness, time warps, and I’m both excited and content.”

Outside of art, McRae is like anyone else. She likes to spend time with her boyfriend, read, go for walks and enjoy nature, and dance. She used to play music and it’s something she’d like to get back into—but like everything in this world that will just take time.

Photographer:Tatanja Ross / On Jackson Street www.theeyecreative.com

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Photographer:Tatanja Ross / On Jackson Street

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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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Perhaps it’s also this lack of formal training – aside from contributing to its quirky outcome – that also lends itself to the process in which her work comes together - “I wish I knew and had a secret formula for creating new work, but alas, inspiration just randomly falls out of me on to the clay. There’s certainly an evolution that happens over time, be it tweaking the form of a piece to adjusting the illustrations.”

“By using loose brush strokes that don’t colour inside the lines… I find details add movement and interest to a piece, especially when it’s organic and unique.” She says of one of the two principles that guide her art. “The work is very hand-processed, for example, the Nimerah Tigeress Planter has 11 individual hand process steps, with 294 individual underglaze marks on each. The Miso Black Cat and Houseplant range has even more marks.”

in terms of needing to be constantly producing and creating because it’s what she has been doing since she was small. “It’s not a pressure to create, it’s just not knowing any other way.”

Not only does Bea make her own ceramics out of her studio, she also hosts workshops for the public to come in and have their hand at making their own creations. “I am having an absolute blast teaching more and more students at my Marrickville studio.”

While they create something tangible, they leave Bea with something as well; “Their enthusiasm is contagious and really inspirational. I’ve had so many new ideas of work I want to make.”

Bursting with new ideas and projects on the rise, Bea has teamed up with a bunch of other creatives to launch something new! “Recently I also launched Plernters.com, teaming up with a bunch of amazing all-female Australian based artists to add their illustrations to limited edition plant pots. It’s been amazing to work with these incredibly talented ladies. We just launched our first six planters with artist Alexis Winter, Carmen Hui, Claire Ritchie, Laura Blythman, Madeleine Stamer and She’s That Wallflower. December sees Francis Cannon joining the pot plant ranks.”

“It’s not a pressure to create, it’s just not knowing any other way.”

So, while it may not have been a straight forward journey into ceramics for Bea, having studied a BSc and having no formal training in the field, she’s firm in her conviction of having always been a creative.

“Working with my hands everyday has always been a part of me, even from when I was very young. Not creating something every single day is such a foreign concept that when I meet someone who tells me they’re not creative I have no idea what they might do instead.” And in that respect, Bea tends not to feel the pressure that is familiar to so many creatives

“My life is one ridiculous anecdote. Do stop by the studio and I’m sure I’ll have something to laugh at.”

beabellingham

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rebecca flattley “F WORDS”

words by charlotte goodsir There is a famous comic strip where a man walks into a florist and picks out a small bouquet of roses, as he pulls out his wallet to pay he asks, “will my wife like this?” to which the florist replied, ‘it depends what you’ve done’. The final frame of the comic is the man walking out of the florist with a huge bunch of roses. Now although the comic has it’s issues, why are flowers said to buy love, courtship or forgiveness?

It just seems like an odd gift considering you know they’re going to die in two weeks, no matter how much you look after them, add that weird solution to their water or cut the stem diagonally. What you are doing, is always wrong. Please don’t @ me florist.

Another way to think about it is like an act of self-love, and to quote a text post that is making its way around the interwebs- ‘we are all just houseplants with more complex emotions’. Humans need food, and water and sunlight to live, just like our leafy counterparts, and a little TLC is needed every now and again to trim the excess from your life to continue growing and becoming the best version of yourself. They can also be through of as a reminder, that you should treat yourself like a flower, and remember to drink a damn glass of water (and no ice coffee doesn’t count), and go outside once in a while. There have even been studies to show that plants have feelings, and I would highly recommend a deep-dive on YouTube on this particular topic late at night, especially when you have a very important task that will happen at 6am the next day.

Similarly, it’s not groundbreaking to compare a woman to a flower, songs and sonnets, (modern day equivalent is a rap from the nice man with tattoos on his face, probably?), often compare the two, I generally allocate 10 points for every simile about her skin being softer than petals, and 7 points to every comparison of a woman with a sharp tongue or her own beliefs being like a rose with thorns, so untouchable and wild. On the other hand, but same

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foot, women’s perfume and other body products like shower gel is often lavender, rose or peonies, whereas male equivalents are named “ARCTIC FIRE,” “EXTREME BLAST” or “AFRICA” and smell of whiskey, smoke, barbeques, chopping firewood and apparently a whole country.

So often women are synonymous with the flower: precious, dainty and ‘perfect’, every woman is born with her flower intact, before it is taken from her (insert sarcastic oh no! here), yet we see artists and other writers like Rupi Kaur and Nikita Gill subverting the stereotype daily. Another one of these sensational ladies is Melbourne based illustrator, Rebecca Flattley, who is redefining the strong woman and florals. Her artwork depicts strong women, hand drawn with a 0.05 fine liner, shrouded with flowers cascading from their hair not dissimilar to a Beyonce baby announcement photo shoot. The simple black lines, along with the use of flat coral colours create an almost cartoon-like image, with a touch of grit and attitude. With her combination of delicate florals, soft warm tones and kick ass subjects she describes her work as, flowy, floral and feminist – a lot of F-words.

Rebecca started posting her art on an Instagram account in September 2016, since then she has gained international recognition her for her work, including a 20k strong following in two years. “It only became serious when I began studying Visual Merchandising and we were asked to upload photos to share our creative identities (…) it helped me become comfortable with sharing my talents to the world. (…) I had no idea how much Instagram would help boost my morale, it’s so heartwarming, I never thought people would like my work!

“When I first began sharing my work I had no idea the impact it would have on females, youths and art lovers, I always aimed to make my work relatable with meaning, whether it had to do with self-acceptance, feminism, love, and heartache (along with my incorporation of florals of course). I incorporate florals into my work for their universal symbolism and meanings. They represent everything and in my opinion are one of the most relatable things in this world. They are loved for their beauty and symbolism of many things from love to heartache, happiness to sadness, life to death. People find their own meanings within my work with the flowers they love or enjoy it purely for aesthetic reasons.”

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Although Flattley has always been drawing, her style, like all creatives, has developed over several years. Scrolling through her Instagram you will see her evolution from highly realistic; “damn-how-doessomeone-even-draw-that” pencil portraits to her now distinctive, and simpler line drawing style. “My styles have varied a ridiculous amount from the age of about 12, I’ve gone from realism to anime to comic book styled art, back to realism to abstract watercolour pieces, everything! It took a long time for me to find my voice in the form of art. One thing that has stayed consistent is how much I enjoy drawing faces, it wasn’t always females but I love the softness of female features. For a very long time I drew nothing but realistic graphite portraits, they were so time-consuming and I struggled to prioritise daily tasks because I was being consumed by grey leads and erasers, I needed to simplify my work to shorten the time spent at my drawing board which is when I began digitalising. I often find it hard to get into a creative mood, (…) a lot of the time my concepts will come to me at the most random of times and I try to get a quick sketch done before the mood disappears, It’s an hourglass, I only have a certain amount of time to draw before I have to do something else or just simply become distracted.”

and other novelty items [is a big problem]. This is a career for some people, we work hard and tirelessly to produce original content. On the other hand, it’s really awesome that there are so many sources out there that help small artists grow with ease. Sites like Society6 and Red Bubble make it easy for consumers to access your work on high-quality products without you having to fork out any money at all! I’ve been very thankful to have these sites recognise my work and offer a platform where I can branch out around the world and communicate with other artists across the globe, we all band together and help each other grow through our artistic journeys.’

Like a flower, Rebecca Flattley grows, but not, like the flowers that are cut, and bottled to become the perfume your grandma wears, or to be sold at an organic market where the coffee is weak and overpriced. She grows strong, tall and powerful, because she is brings everyone so much joy. Her words to live by also align with her floral aesthetic with a ‘quintessential, artsy Van Gogh quote, “Normality is a paved road, it’s comfortable to walk, but no flowers grow”, don’t follow the ordinary footpath in front of you, it’ll take you where you need to go but it’s tiresome and mundane, sometimes you need to press your footprints into the grass and create a new path to be able to truly appreciate the wonders and beauty beyond the concrete path. This quote to remind me that I don’t have to do what others deem as traditional or gallery worthy, I should just do me and take a chance and a gamble with my styles and concepts, I should create for me, myself and I”

(…) a lot of the time my concepts will come to me at the most random of times and I try to get a quick sketch done before the mood disappears, It’s an hourglass, I only have a certain amount of time to draw before I have to do something else or just simply become distracted.”

However, it hasn’t always been smooth sailing. Like many artists, she’s had to cope with the frustration of others sharing her work in the very tech literate 2018, where everyone is one screenshot away from their next Instagram post. Her answer begins with a deep sigh, “art thieves take advantage of artists who make their work so accessible. I solely began sharing my work because I was proud of it and wanted others to enjoy it too, it’s a true shame that there is so little respect for “Instagram artists”, a simple tag of our handle is all that’s needed. But to those who decide to sell poor quality copies of my work on mugs

Flattleys work is available to purchase online through her Etsy store, Society6, and Red Bubble. You can see more of her work and follow her journey onwards and upwards on her Instagram account. rebeccaflattleyart

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SU BSC R I BE !

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Photographer: Sophie Timothy www.sophietimothy.com

nicole millar words by amy farnworth

maggie may words by emily meagher

If you’re anything like me, stories of people leaving the rat race and forging their own creative path, guided only by their passion and courage, light you the flip up. These are the hopeful stories shared around water coolers in the office, of that girl from high school who always loved to draw and now she’s a Pixar lead animator. Or the guy who used to scrawl down lyrics in between meetings for his corporate gig, and finally picked up that dusty guitar in the corner of his room, and now you find him strumming alongside John Butler Trio. These tales are little tidbits that chip away at our fear, and pave the way for a bolder, brighter and more authentic life. A life that is undeniably ours to tread.

Maggie May, and her creative legacy, are the quintessential example of a life well lived and a life infused with what matters. Family, love, community, creativity, passion and joy. The ingredients of any good time. Best served piping hot.

Maggie is the co owner of Think Thornbury, a creative co-op shop that Mags owns (and runs) with her hubby, Josh. In between making decisions for the business and, you know, running the show and being generally wonderful, Maggie is also head honcho at Middle Aisle – an all things macramé passion project that sees Mags run workshops, teach 1:1, do exquisite commission pieces and share her talents with the community. But, when chatting to Mags, there’s an overwhelming sense of ‘more than’. Yes, Maggie fulfils all of the labels of epic wife, shop owner, artist, creative, teacher, friend, ambassador and general asskicker, but her essence and truth can’t be contained and defined by these. She is just … so much more than these limited identities capture.

So how did this bright, bubbly, mama-to-be (just another creative project that our girl is working on) carve out a life where the work and play lines blur, with the freedom to flesh out her ideas and inspirations, all the while making a living and living the dream alongside her musician husbo? She followed her heart, took a big breath, and dove headfirst into a different kind of livin’.

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Like so many of us, Maggie first followed the path well worn (or the path well encouraged) and found herself working in the creative industry, after completing her tertiary studies and graduating with a Bachelors in interior design and communications. Despite it being the culminating point of all that she had aspired to, and more, she just wasn’t feeling it. “When you’re 17, pretty obedient and terrified about making the wrong decision, following your parents advice seems like the most logical thing to do”. She found herself playing leading lady in a role that she was good at but one that was, arguably, not intended for her. She craved greater freedom, flexibility, permission, joy and messiness.

She found that she was most brimming with inspiration after conversations with her husband, or with friends or fellow creatives. Conversations around philosophy, politics and what it means to create something often left her buzzing with ideas and possibilities. Whilst still working her corporate job, she created ‘Middle Aisle’, a creative blog that Maggie ran on the side, somewhat of an antidote to the creative unfulfillment that she was experiencing within her 9 to 5 role.

Discovering (and self educating herself in) macramé changed everything. Maggie’s confidence blossomed and she felt inspired to learn, create, teach and grow with every knot.

The guidance to ‘create that which you wish existed in the world’ is more than just an inspirational poster fixed to the wall of a corner cubicle. For dynamic duo Maggie and Josh (a fellow creative who flexes his artistic muscles as an epic jazz musician in the band 30/70) they actually lived the shiz out of this famous adage as it, unknowingly, served as the fuel to their passion fire and helped their Think Thornbury dream come to fruition. Maggie’s macramé workshops started to sell out, with many people inspired by the

simplicity, connection and creative release that the workshops, and time with Maggie, provided. Soon enough the couple’s dining room, that housed initial workshops and lessons, became a little too cosy for the crowd that Middle Aisle was attracting. To be of service, and to reach as many peeps as possible, they needed something a little different. They came across a space for lease, still within their suburb of Thornbury, that looked to offer exactly what they were looking for. “(It was) a shop and creative venue that would hopefully become a place to share our vision creative confidence, thoughtfulness and community” Maggie shares with me.

Maggie and Josh wanted to create a different sort of shopping experience for their local and wider communities. Coming up with the name and concept over an evening chat, which later became the driving ethos for the shop and its direction, the couple were inspired by the seemingly simple idea of what it was to ‘Think’. They dreamt and schemed of how they could create a place that prompted its Makers, Doers and Thinkers to just … think. Think about what they’re consuming, think about their own potential and ideas, and think about how they are engaging with the world around them. Maggie’s passion and mission to encourage consciousness and progressive thought as a movement within their community is so ingrained in everything she does.

Since this monumental turning point in their story, and along the timeline of her journey, Maggie’s proudest moments have come with her tribe by her side. At the first birthday of Think Thornbury, standing back and observing all that they had created, Maggie and Josh were blown away by the people who had joined them to celebrate. Old friends, new friends, and members of the public alike - all whom had come across a place that resonated with them, that offered something a little

different and that had cemented its place at 800 High Street and in the hearts of the Thinkers, Makers and Doers that it harbours.

Just as Maggie is ‘more’ than an artist, Think Thornbury is so much more than a shop. It’s a hub. It’s a place of comfort and familiarity, inspiration and creativity, kindness and connection. It’s a home away from home.

Like any creative endeavour that one embarks on, things haven’t always been smooth sailing. There have been speed bumps and redirections and lessons and all the learnings, sprinkled over the course of Maggie’s businesses finding their feet and becoming the stellar services they are today.

But it was her determination to not do things the way that everybody else was, her own unique flavour added to a seemingly saturated creative market, that set her apart from other macramé brands out there. Mags tells me that, during her workshops, she sets the intention to encourage bravery and a sense of confidence. Where so many of us seek perfection, to imitate a curated and perfectly edited Instagram creation, Mags dares to be a little different. She reflects that so many people seek perfect order, templates, specific rules and regulations, rather than ever being given permission to just play and explore. This is where Middle Aisle steps in and steps up.

Students enter a world in which there are no patterns, and no set outcome, Maggie provides the rope, the space, the wisdom and the unshakable belief in each and every student that walks through her door. When students ask ‘what do I do next’, she encourages them to lean in, tie a knot, and trust the process and what they’re orchestrating.

“My students are given the opportunity to be creative in a way that (for the most part I feel) wider society doesn’t encourage, particularly in women. Girls are taught to be perfect and boys are taught to be brave.”. www.theeyecreative.com

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Photographer: Sophie Timothy www.sophietimothy.com 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

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Scottish-born, but now Melbourne-based Fashion Designer, Ellie Vallely is the breathe of fresh air that the independent fashion scene has long been waiting for. Her bold, eccentric silhouettes and unique patterns reflect playful femininity that literally suit any body shape or type. Ellie's fierce sense of style mimics her supersweet and vibrant personality and her bravery for moving across the world to start anew.

squint

With the creative paths of Melbourne leading the way for her new future with her brand Squint, Ellie's fresh ideas are set to bloom like the current season of Spring and is sure to be hanging in your wardrobe in NO TIME. I was fortunate enough to have enjoyed a quick chat with Ellie about her time running Squint, how she typically deals with the everyday life of masterminding a fashion label and how she's finding the cultural change in her surroundings.

Tell us a little about you…

My name is Ellie Vallely, I’m 25 and I am from Edinburgh in Scotland. I grew up in Edinburgh and have been spoiled by such a beautiful and vibrant city. Growing up I loved going to gigs, exploring the retro shops and the annual comedy festival in August that brings the city alive! I have always known I was a city girl but enjoy the countryside as an escape. All of this is really mirrored in Melbourne and I have felt at home here straight away! I love trying new food and adore the incredible choice of cuisine here, especially all the dumplings! Outside of fashion I love all facets of design and love noting more than hunting around a giant antiques shed looking for the perfect chair or enamel mug with just the right chip! Every aspect of my life compliments Squint as it is truly me and my personality, I’m a bit of a collector both with physical objects and with information. I collate and draw inspirations from so many seemingly random things throughout my life.

What makes you tick?

The big thing for me right now is connecting with people. Having just moved to Melbourne, meeting new people and making friends is super important.

It goes against my natural personality to be forward and just ask people on friend dates but I am pushing myself and loving it! I’ve met so many lovely people so far and hope to meet many more.

Coffee or tea and what is your order?

Always coffee! I love iced coffee so I am excited for the Aussie summer to really indulge! It’s hard not to drink lots of coffee in Melbourne!

What do you do to relax when you’re not working?

I really enjoy cooking and find it a great relaxation after a long day. As I work from home I have to be careful not to just work all night and planning a nice dinner to force myself to stop and step back is a great part of my self care.

Do you work on Squint full-time, or do you (like most of us) have a little something on the side as well?

I work on SQUINT full time. Back in Scotland I was lucky enough to win a place on a fashion business incubator called Fashion Foundry. It really boosted my confidence and let me know that I am able to do this as my career and its what I’ve always wanted.

You moved recently to Melbourne from Scotland.

How’s the Melbournian life treating you? What do you love most about this creative city?

I am loving it! My boyfriend is from Newcastle NSW so I originally came here for a year to intern with Dress Up in 2014, but as it was part of my Uni course I had to leave just as I had settled in! I knew I had to come back. I met Kyle in 2011 while we were both travelling in Europe and we have been back and forth and long distance for a lot of our relationship.

Melbourne is our neutral place that we both love and in my opinion there is no better place to have a small fashion business. Everyone I’ve met here is so supportive and excited by Squint so it has really motivated me. Something I was missing in Edinburgh was the broader creative scene, Scotland is lovely and supportive but so small that it can be hard to grow. Here, there are so many people to connect with and so many events to go to that you are kept constantly engaged and excited.

Where did the name Squint come from?

The name SQUINT came from my graduate collection at University. I struggled at Uni (mainly the expectation and total acceptance of extreme amounts of stress) and found solace and determination in focusing my final collection on home and Scotland and being myself. The word in Scotland means something that’s a bit off or askew.

The SQUINT girl is a bit weird and different, wild and a bit of a misfit, she’s the literal meaning of squint! A part of the name also connects me to home, it’s a bit of a nod to my fellow Scots and it makes everyone else think a bit which I really like.

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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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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Organised Fun Models- Kitty Tang and Azza Hassan Photographer- Kitty Tang and Ellie Vallely Funky Earrings- Elise Brimer

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How long have you been designing for? Where did it all start for you?

I’ve been designing since I was about 13 (not counting drawing Barbie outfits haha) My Nana was an incredible sewer and knitter and made a lot of things for me as a child and I still wear jumpers she knitted for my mum when my mum was my age.

Every visit to her house was like Aladdin’s cave, she would let me have three ‘special buttons’ from the button tin every time and I still have some of them to this day! Sadly she died before she saw me start to sew but I do think of her regularly when I work, sewing is definitely in my blood! At thirteen I started making hideous bags for all my friends with every trim I could find in my sewing box and the gradually started making clothes for myself just by eye. I would see something on Alexa Chung or something and need it desperately so would make it, sometimes staying up all night to be able to wear it to school the next day! Luckily my school was very accepting as I didn’t know how to do trouser legs so everything was always so short! This is actually wear the SQUINT cycling shorts originated from, I love short skirts but didn’t want to get told off at school so would make bloomers!

Did you study Fashion?

I went to Brighton University and studied fashion design and business studies. I didn’t enjoy Uni very much but knew it was the only way to gain the skills I needed. Having said that I was so terrified of asking questions and not knowing what to do that it really stunted my learning. I came into my own after interning with Dress Up, they were great teachers and very patient with my questions. This gave me the confidence for final year and let me know that I worked on my own well and to follow my instincts when it came to sewing. The University building was a big trigger for my chronic migraines so I worked at home a lot. This meant I did a lot of my own problem solving and self direction, and designing my final collection became much more about how much I liked my work than how much the tutors liked it. I definitely became known as ‘stubborn Ellie’ because I would stand up for my designs and only do what the tutors told me if I genuinely agreed with them!

How far back was it when you first realised that you wanted to be a fashion designer?

Since about the age of 15 I was pretty keen to have my own business, my mum always warned me ‘people with their own business never get to go on holiday’ and I remember being like ‘nah mum, that’s the whole point, you can go on holiday whenever you want!’. How wrong I was haha! But I know it is perfect for me even though you pretty much work 24/7, I enjoy it so much its worth it! More specifically with Squint I wanted to bridge the gap between ‘cool’ fashion like skateboarding brands and more conventionally ‘feminine’ fashion like the retro pieces I love to wear. My signature piece since my grad

collection is the ‘Wiggle Tee’ this piece perfectly combines my love for casual branded t-shirts with a playful femininity of a asymmetrical neckline. Squint is about finding that balance, fit is a big part of it.

I am small and curvy so am always asking myself the questions- does this flatter? Can you wear this with a bra? Does this look cute with wee trainers and not just with heels? Does it make me feel amazing?

And most importantly is it fun? I see fashion as a form of empowerment and agency so practicality is as important as beautiful design. I haven’t quite managed to put pockets in everything yet but it’s a mission!

Do you hand paint/design your patterns yourself or do you collar with other creatives?

My recent collection ‘Organised Fun’ is a collaborative collection with artist and illustrator Alice DanseyWright. All the prints and patches are a collaboration with Alice’s signature illustrations. We were both fans of each others work before we met so a collaboration just naturally happened. We had one meeting where I had my wee mood-boards and colour story from childhood holidays in France and Australia and a few days later she had the prints you see now, absolutely perfect first try! We really clicked!

What influences the fun aesthetic within your designs and patterns?

There are many things that influence my work. I have three distinct stages of influence in my designs.

Firstly the overall ethos and story of Squint or the ‘character’. Secondly, each collection has unique and specific influences and then thirdly technical inspirations for details such as pockets and collars.

Squint’s main aesthetic influences are the 1980s, skateboarding, retro childrenswear, shape and colour.

Then each collection has unique influences that usually begin with a name, for example something I’ve always hated is what I call organised fun, so as a child this would be any club or forced interaction with other kids. So the story for the collection came from a general dislike for Girl Guiding and kids groups at French camping holidays contrasted with the awe of my first holiday outside of Europe to Australia during the 2000 Olympics. It was the concept of hating it but never wanting to be left out. For me my work always has a juxtaposition like this in it, I like having something to play with so will often choose something I hate to twist into something I like. This is all helped along by my mums obsessive scrapbooking when I was growing up. Every year of my life has at least three books full of photos , drawings and weird flyers from holidays or museums, all with a narrative from the perspective of myself but written by my mum, so they always have a hilarious attitude like “As you can see in this photo I was having a big tantrum because I didn’t want to go on a hike, but I soon came to realise that was futile” and I’m literally four in the photo haha. So this funny little caricature of myself always creeps into the ‘attitude’ of the ‘girl’. www.theeyecreative.com

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What do you enjoy most about creating?

Creating is so free and literally endless and the best part about creating with Squint is that I am literally designing my dream wardrobe. If I ever feel down or grumpy I will just dress in Squint and have an instant confidence boost. I make all the samples in my size so that I can wear them, this helps me create content for instagram that shows Squint as ‘real’ clothes and on a ‘real’ person that has not been totally set up. I love wearing my work and seeing peoples reactions, its wonderful getting nice comments from strangers even though it makes me feel very embarrassed too as ‘peacocking’ is not my personality at all! Squint has given me a huge amount of confidence, it’s a way to meet so many people and have new experiences.

In you own words, what does Squint mean to you?

Squint really means everything! It is so wrapped up in my personality I would feel lost without it. Even if the business ‘failed’ I wouldn’t stop, I would keep creating and designing. When I moved over here I had to wait for over a month for my stuff to be sent over and I was running in circles totally lost without it! Its what I’ve always wanted so I get constant satisfaction from my work and do a little dance any time someone buys something.

What key experiences have you learned from the most from while building your brand?

I think the main thing is confidence. I’ve always been relatively confident in my work itself but certainly not in myself. I think having a business that I am so proud of has then transferred over to me personally. I can still be awkward and shy but I am able to put myself in situations I would have massively avoided before starting Squint.

What have you found difficult about being a start-up?

The isolation can be really tough. I work from home so have to force myself out of my world sometimes, even something as simple as grabbing a coffee or walking round the park can have a huge impact on the loneliness that can creep in. This can my eased or made worse by social media too, you can be having the best day and post a photo you are so proud of on instagram and get like 30 likes and I know it doesn’t mean anything but that little devil on my shoulder always tests your confidence! I try so hard not to rely on other people acceptance of my work to motivate me but that can be tough when you are monetising your creative practice, it can get to you.

Do you find that having a community of like-minded people have helped you power forward with your brand goals?

Oh 100%! Having friends in the creative industries is so helpful, You’re all in it together. Trying to put an

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idea out into the world that you think will make people happy can feel like bearing your soul and is hard for people with ‘conventional’ jobs to understand. You’re also all working stupid hours so its nice to have that little community around you.

Is there something you wish you knew before starting your brand?

How to use excel! Haha but in a more romantic sense I guess I had taken a bit more time to plan and work out where I was going. I jumped into my brand so quickly because it rolled on from Uni and then I was nominate by my sister for a Creative Edinburgh award and got into the top three so thought ‘oh I have to jump on this opportunity and get Squint out there now!” and I feel like I’ve been playing catch up ever since. But I bet if I had a redo I would 100% do it the same way!

What advice would you give budding creatives today after everything that you have learned?

I started Squint straight after Uni for a number of reasons and I had the privilege to as I had support emotionally and financially through my parents. So it is easy for me to say ‘Just do it!’ but I am aware it is not that easy. I worked out pretty quickly that it made me really happy so that is the first thing I would say is that make sure its what you really want and that is actively makes you happy because it gets SO HARD. I have never been so stressed and cried so much in my life but the day-to-day fun I have and high highs I have are worth it to me. If you are starting out in creative business you have to get a thick skin because you are baring your soul! But more generally don’t try to do everything yourself, I am really bad for wanting to ‘prove myself’ so burrow away on my own without asking for help. But reaching out to your peers or to a greater business body for support is the best advice I can give you!

What is the BEST thing that has happened so far throughout your journey with Squint?

A big highlight was winning ‘Best Online Newcomer’ at the Scottish Herald Newspaper Fashion Awards, it was such a boost to get recognition from the industry. But the best thing I have done by far is my pop up exhibition. I have never been so stressed in my entire life but the opening night was such a high!

To see all my best friends and family and then all these strangers who love what I do was incredible.

I finished a collection, shot a photoshoot, made a fashion film and had my pop up all in less than a month, so mad but having a deadline really helps me!

I’m very keen to do a pop up here in Melbourne but think I may give myself a bit more time to organise it this time around!

squintclothing

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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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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Photographer Jade Florence

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moss folk words by samantha moss

According to The Black Dog Institute “One in five (20%) Australians aged 16-85 experience a mental illness in any year.” I am part of the 20%, I am the one in five and if you are reading this there is a good chance (a 20% chance in fact) that you are too. I was first diagnosed with Depression and Anxiety back in 2015 and it was the beginning of a long, ongoing journey living with mental illness. While there are 20% of people reading this who are living with mental illness, there is also a good change that they are living with mental illness in silence, that no one around them knows what they are going through. The unfortunate truth is that there is still a lot of of shame and stigma that surrounds mental illness and this often means suffering in silence and going through the experience alone.

When I received my diagnosis of depression and anxiety over three years ago I was incredibly isolated and felt that I was completely alone in my struggles and that I was the only person feeling the scary and overwhelming things I was feeling. I was 20 years old studying fashion and had no idea what was happening to me. I didn’t know anyone who was going through what I was, or so I thought. As my mental health slowly began to improve with the help of therapy and medication, I began opening up to those around me about what I had been going through. Instead of being called “crazy” or told that it’s “all in my head”, something amazing happened.

People opened up to me in return about their own mental health struggles. People that I never would have expected; family, friends and coworkers told me about their experiences with mental illness. All of a sudden I wasn’t alone anymore, I had people I could share with, confide in, and seek help from.

People who understood and supported what I was going through. It was this open communication and sense of community that above all helped me out of the darkness. It also shocked and saddened me to discover the amount of people who were suffering in silence, especially my friends and peers in the creative community.

It was the realisation of how many people out were living with mental illness and how many people were struggling in silence and isolation that made me want to use my experiences to help others. The sad and unfortunate truth is that “54% of people with mental illness do not access any treatment” and in my experience this is in part due to the shame and stigma and misconceptions that is associated with mental illness. I left behind my hopes and dreams of working in the fashion industry and decided to use my experience with mental illness to help others,

to raise awareness and create a community that I so desperately needed when I was first diagnosed with anxiety and depression. So I created Mossfolk, a community for those living with mental illness to come together and share in our experiences. ​ Mossfolk is an online and real life community for those living with mental illness to come together, share in our experiences and work together to raise awareness for mental health, a safe space based on the core principles of community, creativity and open communication. At Mossfolk we collaborate with creatives and mental health professionals to run mental health and self care orientated workshops and events covering everything from arts & crafts, movement, health & nutrition, healing through nature and art as therapy. I believe that everyone’s lived experience with mental illness is different, unique and valid how we heal and recover is unique and different for everyone. At Mossfolk we are encouraging of people to try and hold onto whatever works for them without shame or judgement, whether that be medication, different types of therapy, yoga, crystals, arts & crafts etc. This is why through our workshops and events we aim to introduce people to different practices and outlets that they can implement into their daily lives for the benefit of their mental wellbeing. We also raise awareness for mental health through interviews with others who have lived experiences with mental illness. I hope that through our workshops and events and interviews that in some small way we can help raise awareness and make the world a little bit kinder to people with mental illness.

I have come a long way since learning that I have depression and anxiety back in 2015. I have learnt that recovery is a nonlinear and ongoing process. I am still struggling with mental illness and to some degree I probably always will. I still have days when I can’t get out of bed. I struggle to maintain my mental health while running a small business. But in Mossfolk I have found a community of people who are understanding and supportive of mental illness and thanks to this wonderful community I will never again be alone in my struggles. If you reading this right now are, like me, in that 20% of people with mental illness I want to share with you some truths that I would have loved to hear all those years ago...

You are not alone. Mental illness is not a personal failure. Things will get better and we will get through this, together.

You can check out Mossfolk workshops & events and read our interviews at our website www. mossfolk.org. In 2019 we will be launching memberships, products and other exciting things that are currently in the works, keep updated via our instagram @moss_folk. www.theeyecreative.com

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Moss Folk's Tips & tricks for maintaining your mental health while running a creative business and general mental wellbeing... moss_folk

1.Create a routine and time block your day Creating a timetable/schedule for your day can help avoid anxiety and overwhelm. Figure out how long you can work for before losing motivation e.g one hour, two hours then schedule your day in one/two hour blocks of productivity and take short breaks between.

Make sure to schedule in food and movement breaks to have a snack and have a stretch/move your body.

effects that social media can have on one's mental health. Phone self care can include turning off your notifications, scheduling certain times during which you check your emails and instagram post etc. and only use your phone within those times. Curate your social media feed so that you are only seeing content that has a positive effect of your mental health.

2. Goal setting It can be really overwhelming/anxiety inducing to have big project looming in front of you. Breaking that big project down into small achievable goals with time frames can help to remove the overwhelm and help keep you on track. Celebrating when you achieve those small goals can also help to maintain motivation.

7. Learn to say no and set boundaries.

While there can be a lot of pressure as a small business owner or creative to say yes to every opportunity that comes along, it is important to not take on more than you and your mental health can handle. When making business decisions I always ask myself, how will this decision will affect my mental health.

3. Change your environment If you are working in the same environment all day, especially if you are working from home it can be helpful to change your environment every now and then. If you find you are lacking motivation or are getting distracted go to a nearby library or your local cafe to work. Decorate your work environment in a way that makes it feel like a calming, safe and motivating space...for me that means lots of plants and greenery!

8.Implement regular self care rituals into your life.

It is as important to schedule self care rituals in your day as it is to schedule in business meetings and work.

These regular self care rituals can be anything from taking a break over a morning coffee, 10 minutes of yoga or stretching, going for a walk, going to therapy, going to an arts & crafts group every week, journal writing, having a bath in the evening. It is important to make time for your mental health rather than waiting for the perfect self care window to just open up in your day.

4. Take breaks Make sure you are taking regular breaks to help you refresh and refocus. It can be more productive to take a 15 minute break in which you are doing a completely different activity than trying to work through. Try to take a break or two during the day in which you go outside whether that be for a short walk or a coffee from your local cafe.

5.Finding people to work with Most creatives I know, myself included work alone the majority of the time. Finding people to work with to give you motivation when you need it can be really helpful.

6. Phone & social media self care When running your practice or business online through technology it is important to implement phone self care and protect your mental health from the negative

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9.Open and honest communication.

You would be surprised to know how many people in your life and people that you meet that experience mental illness or mental health issues on some level.

Open up to family, friends or your work community about how you are really feeling and what you are struggling with.

10.Most importantly be kind to yourself.

Give yourself a break and a pat on the back. Celebrate the small victories and remind yourself that you are doing your best and are doing a bloody good job of it.

Statistics referenced from The Black Dog Institute xhttps://www. blackdoginstitute.org.au/docs/default-source/factsheets/facts_figures. pdf?sfvrsn=8

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 put together the artwork on my computer, using illustrator and drawing up the flowers over the background abstract shapes. I will work on this process for hours, sometimes days trying to get it right. I actually have a painting completely planned out before I go to the canvas. I have a feeling this comes from my screen-printing background. I painstakingly mix all my colours to be absolutely perfect.”

Much like the ecological changes we see around us, Leah’s style is always transforming. “I’m really working hard right now to grow my style by allowing an hour of play each day. In this hour I will use textas, pencils, water colours, oil pastels and it’s about loosening up and seeing what can come of it. My process is quite controlled and organised and I would love to get more playful. My aim is to incorporate areas of flat colour with some textures and more painterly gestures”. Traditionally a sucker for 70’s poster artists, Leah has more recently drawn inspiration from artists that are loose with their technique, using texture and washes. “Sometimes I wish I was a more spontaneous artist whose painting develops while doing it but I feel like that part of the process happens while I’m making my collages and quick sketches of plants. I am trying

to loosen up on some layers by introducing oil pastels and washes.” I am not sure about you guys, but I after admiring Leah’s art for so many years I cannot wait to see the textural transition she is making.

No stranger to experimentation, Leah dipped her toe in to pretty much anything and everything that took her interest throughout her years as a student and professional artist; Graphic design, ceramics, screen printing, textile design and fine arts to name a few! From here, Leah’s career looks to have taken a steadily incline although she has not gone without the tough bits. She has at times felt completely lost without a compass (not that anyone born this century can read those bloody things anyway), but with no thanks to google maps she navigated her way back to a place that dreams are made of- full credit to her intuitive motivation and the legends rallying around her!

Her symbolic style is wellknown for its bright contrast and realistically detailed abstract elements. Leah’s art constantly challenges balance and perception, something that seems to carry over in her personal life as well. Leah works incredibly hard juggling her time between commissioned works and her own

creations and exhibitions. However just like her artwork she presents with an uplifting grace. Leah loves collaborating with others and admits that it gives her some headspace from her own work and sometimes triggering new ideas!

“I work closely with their vision, they may have particular flowers or symbols which are meaningful they want me to include, then set about translating them through my own style. All my mural commissions have been incredible for my career, they’ve allowed my audience to see how varied my skills are and opens up their minds to how many different surfaces my artwork can be applied to” Leah can do some impressive name dropping when talking about collaborations… including Gorman whose love of colour and pattern equals hers. More recently she dropped a colour bomb when she announced that she had been working with Basil Bangs to really brighten up our summer time.

I sure know what will be on my Christmas list! However, this years opportunity to complete the entire floor of the oncology department for the Sheffield Children’s Hospital in the UK was Leah’s favourite project to date. “If my art can serve a purpose to bring some joy and colour and optimism to children who are unwell, then I’ll be happy.” leahbartholomew

Photographer: Mindi Cooke Stylist: Noel Coughlan www.theeyecreative.com

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carli mcmartin words by amy farnworth

Carli McMartin should be British. Everything about her screams quintessential Pom – her love of old architecture, her heritage and ancestry, her adoration of London, her fashion sense; her desire to visit that little island in the middle of the Atlantic Ocean again after spending a considerable amount of time there a few years back, her obsession with British history, her attitude.

But not only that, she’s an illustrator who draws pretty fucking cool black and white linear versions of British buildings, so that technically makes her a Brit, right?

“Look, I’m literally in awe of every single piece of British architecture I come across, whether it’s a cute little thatched roof cottage in the countryside or the Houses of Parliament in the middle of London,” says Carli, “I’ve always loved stopping and taking the time to admire the things that humans have created, especially architecture. I find it so amazing that some of these buildings that surround us are 600 years old. That’s tonnes of generations who have lived their lives in these same buildings and I think these are the things I think about when I’m illustrating them.”

Keeping old architecture alive through modern lines, (Carli’s words, not mine), the Canberra native only took the plunge into the world of illustration 12 months ago; and thank God she did, because if she’d stuck to designing tattoos or taken a foray into gardening (she’s a bit obsessed with plants and gardens - her socials play testament to that), then Instagram would have one less talented user, I wouldn’t have a new favourite illustrator, and the world would be a little less creative, devoid of the linear architectural masterpieces she’s now sharing with her followers.

“I guess you could say I am definitely drawn to Victorian and Georgian architecture (mid 1700s – early 1900s) more than any other style. Both these eras of architecture have these attributes intertwined even though Georgian is your more symmetrical brick and stone houses (think Bath’s Circus) and Victorian is more decorative (think skinny, tall terrace houses with pointy roofs!).”

In discovering it’s the more grandiose buildings that take Carli’s fancy (Google Bath Circus, you’ll be pretty blown away), as opposed to those smaller quainter mill houses; or the semi-detached box houses that possess zero character, usually found in overpopulated urban residential parts of Britain, I was keen to find out how she went about beginning each piece of artwork.

“I always sketch from reference, so since I’m literally on the other side of the world to most of my subject matter, I have a million folders saved on Instagram and Pinterest of beautiful buildings that others have photographed.

“So I guess step number one would be looking through those first and if I’m not feeling any in that moment, I jump onto good ‘ol Google Maps and drop the little orange man into the street level of my favourite suburbs in London - Kensington, Chelsea, Richmond for example, and have a little walk around until I find something that grabs my eye.”

Sketching the buildings first in pencil on paper, Carli explained to me that she then runs over the lines with black liner, erases all the pencil marks then scans the images into Photoshop for some cleaning up before adding the poppy, colourful, fun backgrounds.

Being a Brit myself then, I was fascinated to learn if Carli’s desire to sketch those grand Georgian buildings seen in the affluent boroughs of London stretched to a desire to draw the red bricked terraces of the North, the gritty industrial cities such as Manchester or Liverpool - the places I grew up.

“As much as I’d love to not discriminate against some adorable buildings, I pick the architecture I decide to draw based on a particular set of attributes – the buildings have got to have multi-levels, detail in the facade itself (fancy railings, balconies, stairs etc) and they’ve got to have big windows that are in-your-face huge. Because I illustrate through linework, having these details really makes the art pop, and without them, it looks like a few very sad lines on a page. 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

highgate.

www.theeyecreative.com

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piccadilly,

london.

fortnum & mason

17 07

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Tower Tesltra

Australian War Memorial

Melbourne Building

Sydney Building

Blundells

Black Mountain

Australian of Science

Academy

Cottage

Captain Cook Memorial Jet Australian-American Memorial

C B R

Albert

Hall

National Archives of Australia

Parliament

House

Canberra, Australia.

double wood coffee interviewed by samii lund

Full Names: Sheila Lin & Sabrina Lin Starting Double Wood Coffee must have been a decision that was born over coffee, no?

It is a mutual love for coffee for sure. Back when we lived in Fitzroy, we went on café adventures trying different blends and brews. The coffee-loving passion never passed the point of our frequent outings though until we spent a holiday in Taiwan.

Our parents love coffee and they have a set of V60 at home. To our surprise, they also enjoy drip bag coffee as much as they do fancy brews.

During our time in Taiwan, they brought drip bag coffee with us while we travelled, and we got to enjoy a cuppa in the car, at hotels, hiking etc. Sabrina’s husband was especially surprised why no one had thought of doing this in Australia, a place with an awesome coffee culture and where people love the outdoor. There came the idea that we wanted to show coffee lovers here a different way of enjoying coffee, we wanted to show them filter coffee isn’t necessarily snobbish, we also wanted to show them how easy it could be to enjoy good quality coffee anywhere they go.

Growing up together or working together? Which one caused more arguments?

ANYTIME together! We shared a room growing up, that’s a one-way-ticket to quarrel land. (This is Sheila talking) Personal feelings aside though, working together probably has been rather peaceful because we learned that we HAD to compromise to get work done. After all, silent treatment isn’t the best meeting procedure.

Hahaha…I would say working together (Sabrina talking). There were tonnes of arguments/fights growing up together but those were probably nothing that really mattered. However, working together on a business means that every decision we make is important. We have to come to some sort of agreement or solution. Like Sheila said, compromise is a necessity in some situations, but you know, it is not the best feeling.

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What would you say are the benefits of working as a sister duo?

That we sort of know each other’s strength and weakness when it comes to allocating tasks. For example, Sabrina is good with money, I’m better with communications so she’s in charge of the 1, 2, 3 and I’m in charge of the a, b, c.

Not to mention that we’re bonded by blood. We have trust and loyalty towards each other which is something none of the commercial contracts could contain. We also both put our family heritage into the brand (including the brand name and logo which incorporate our Chinese family name, and a blend that represents our hometown). That to us, is to have not only a business, but also a mutual pride and goal.

How much time went into finding the perfect coffee to use within the coffee bags, and how much coffee was consumed during the process?

It took us around four months and thousands of visits to the No. 1 to finally decide on the three blends we currently have. I’d say we were responsible of 30% of the coffee sales on the market during the period.

We were not complaining, we were just really, really caffeinated.

What’s your favourite flavour of Double Wood Coffee and why?

Sheila’s favourite blend is The Night Market. She likes the refreshing and unorthodox taste of the blend, which exudes a tea fragrance due to the soil the beans were grown in.

Sabrina’s favourite is The Night Market, too. To her, simply put, this blend is the all-rounder – not too punchy, not too much acidity. It’s perfect for morning refreshment and great as the afternoon dose.

Being a creative start-up is difficult – does having a community of like-minded people around you (social media, reality) help with this process?

We never put this into perspective until you asked!

We’ve had sought advice from friends and family around us. They came from different backgrounds and professions. Some had skills in entrepreneurship, some in management, marketing and design.

Gratefully, during numerous discussions with these everyday heroes we slowly built our own structure.

In terms of the creative aspect, such as the visual and digital medium, Sheila’s background in the visual culture and communication sectors with her own start-up experience came in handy. We also have friends in the creative industry that provided us valuable suggestions. This is also an on-going process, thanks to the support, love and knowledge from all these people around us!

The packaging is brilliant. Did you work with a local graphic designer or did you come up with them yourselves?

When we came up with the product names, we had a basic concept and idea on how we’d like to present each blend. The smooth, Colombian-origin Hola, Chica! uses a peaceful green background, cacti to hint the Latin element and the red flowers as a cheeky kick. Dancing Tigers is a mixed blend with the funky and earthy Sumatran Mandheling and Brazilian beans and on its design the bold and vibrant colours and names were incorporated. We use a refreshing blue to imply the lit city night-sky where you could see the Taipei 101 building among the horizon, representing the Taiwan origin. We communicated with a friend who is a brilliant graphic designer and he put all these elements you see now on the packaging!

We loved the first draft just like that.

As for the logo, it’s derived from our Chinese family name, that figuratively translates into “two woods” (that’s where we got our brand name from), and shaped into a coffee bean.

What’s the best feedback you’ve had from a client?

A customer had a tasting at our pop-up stall in Hobart and she bought some home to share with her dad, a coffee critic. They both highly recommend our coffee and love The Night Market in particular. Any feedback from the customer is a thrill for us to read. But that one combined pure enjoyment with a professional, objective opinion so it’s an encouragement and a recognition of our effort!

One of our regular customers once said that our coffee was very smooth and she even ordered some for friends who were about to travel overseas shortly.

Later on, her friend posted on Facebook some very positive feedback about their Double Wood experience!

Have you seen Double Wood Coffee being used in the wild (aka out in public)? And how did that feel (if answered yes?)

We haven’t seen any out in the public, sadly. We had customers who shared some short video clips of their friends enjoying them or tagged us on Instagram. We do hope the day where we witness (and will try not to stare) strangers enjoying our coffee in the wild will come soon!

What are your words of wisdom that you would like to share with any budding entrepreneur that you wish you knew before starting up?

Time management is a key and keeping time for your private self is a must.

Understanding the limits of product scale - meaning that if the product you are selling has a low per unit income you need to be aware of the challenge to the start up to recoup the initial investment costs and also make a viable ongoing profit to pay its ‘employees’.

Also, it’s really helpful to know your target market(s) so that you can devise different means for getting your product in front of them.

It’s cool to start a business in something new and creative with unknown market potential. Yet the down side is that you could suffer to gain recognition as no one knows or understands your products.

Any words of wisdom you would like to leave us with?

Don’t stop before you start.

Persistence and patience - just because it’s a great idea or a great product it doesn’t mean that it’ll set the world on fire overnight. Also, it also requires a little bit of good luck and a lot of effort!

Run it like a much bigger business - process, routine and structure are important, particularly in a start-up.

Don’t stop learning and keep your mind open to new ideas.

www.theeyecreative.com

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bamba bamba collective interviewed by samii lund

Tell us a little about you. What is your passion in life besides creating your amazing jewellery line?

Fashion and Music are my life. I combine my full-time jewelry making with my band, Jackie got Lemons.

I am the lead singer and songwriter alongside my brother in law, Karl. Let's say, family business! We released our first album "None of your business" last year and we are recording some songs to make a comeback this summer.

Do you work on Bamba Bamba full time or do you do something else on the side as well?

I quit my job to focus on Bamba Bamba full time.

I was very scared and skeptical when I made this decision but turned out amazingly. Sometimes when you get out of your comfort zone it's frightening but when you see your ideas are coming into life and people respond so positively to your product as my beautiful customers do, it is very heartwarming. I can't wait to show you what I have been working on for next year.

What do you do to relax when you're not working?

Relax? Is that a thing? LOL! I love to go to op-shops to find useless stuff I don't really need. Live music, hang out with my people and brunch... I LOVE BRUNCH! How long have you been making jewellery for?

Where did it all start for you and how?

Actually, not that long. Bamba Bamba was born in May. I have always work in fashion. I worked as fashion stylist back in Spain and retail couch/curator for independent designers for the last 3 years. I guess I have been building the idea in my head for quite a long time. I actually used to have a Hand painted Shoe brand back in Spain, so I guess this was how my ideas evolved. Although, I have always been a massive earring consumer (MY BAD)

www.theeyecreative.com

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Where did the name Bamba Bamba come from?

Bamba Bamba comes from the spanish song, "Para Bailar la Bamba". I wanted to embrace my culture, my humour, my accent, Me. I am always dancing, singing and laughing and I think this reflects in dept who I am as a creator.

Did you study? Or like many of us, did you make it all up as you went along?

I studied graphic design, fashion design and styling, business, marketing, accounting and STAND UP COMEDY. So I guess at the end all added up to my creations. Although, I am a very curious human so everytime I wanna learn something I research for months and study my own way. I guess when you are creative, research is the way to go to grow.

When did you know that you wanted to be a jewellery designer? Was there something missing in the market that you were after that caused you to pave the path yourself?

I always wanted to start something of my own.

I think the idea of having my own business is what pushed me to this, the rest came along super organically.

I think I founded my niche, and try to deliver something different, quirky, colourful and of course, BIG. I don't use molds, I don't use cutters, I don't like to play by the rules. I am not perfect or simple, as is my jewelry.

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Where did you grow up? How much as your home life/ home town growing up influenced your work?

I was born and grew up in San Sebastian, Spain. I grew up in a very creative household.

My dad was an amazing sculptor, inventor, and business man. I guess my shapes are influenced by him somehow. Sculptural and contemporary. He also was a very funny man, so I think I am delivering that one on his behalf.

On the other hand, my mum taught me the beauty of music. Her mum and granny were singers in the 20s-30s, So I guess it's all related and I mix and matched all my influences to create Bamba Bamba.

What materials do you use/focus on when creating your jewellery?

I only use Polymer Clay and acrylic paint at the moment. I am all for trying and testing new mediums and I allow myself a creative freedom day every week/fortnight to test new mediums, paintings and shapes. I love it, and what it comes from it, it's priceless.

There is so much joy within each piece that you create, where does this come from?

Love. It all resumes to that. I love what I do. I am a massive fan of uniqueness and colour.

Every piece is handcrafted and hand-painted individually. I don't use more than a pasta machine and my hands.

What influences your designs, patterns and colours?

Color is a massive influence for me. I sometimes go for a walk and see amazing color combos in flowers or gardens, buildings... or I listen to music and I see a colorway in my head (I know is weird, but it's awesome) and it comes naturally. Inspiration and influences come when you less expected.

What do you enjoy the most about creating?

Mind freedom. When I create I don't think, it's my way to distress from life. I am in my little world and it is untouchable.

What experiences have you’ve learned the most from while building your business?

Patience. (Sometimes, I am still working on that) I get very excited to show the world my creations and I wasn't very good at scheduling and planning releases. Getting there...

What have you found difficult about being a selfdriven start up business?

To keep up and sometimes, to say no.

Again, the excitement makes you want to take everything on board, but when you are a one woman business, sometimes you have to turn down opportunities for your own good.

bambabambashop

Do you find that having a community of like-minded people have helped you power forward with your brand goals?

For sure! I worked with very inspiring and badass businesswomen in this past months. Their support has been insane and I couldn't be more grateful for being part of such an amazing community.

What advice would you give budding creatives today after everything that you have learned?

Love what you do. Get out of the internet and find inspiration somewhere else. Find yourself through your creations, don't try to be someone you are not. Oh, and get an external accountant, don't do it yourself.

During the times where things may not have been going great, what have you done to make sure you keep on your own path?

First of all, cry. Lol. Then take the bull by the horns and keep going.

Keep trying, have a wine while brainstorming. Ask questions to other creatives and share experiences to grow. There is no harm in asking, you will find there is heaps of people in the same situation willing to help you out.

What is the BEST thing that has happened so far about your brands journey?

My customers. Every single person who has supported my business since I started. They are rockstars. www.theeyecreative.com

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