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MARCH 2016 ISSUE #6 LIMITED PRINT EDITION
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WWW.THEEYE
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CREATIVE.COM
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TALK TO ME BABY The life of a creative is a somewhat crazy one. Ups and downs, sideways antics and not to mention the dream-like state we drift off to every 3 seconds. There are those days where you feel as though the world is larger than you could ever imagine and that your small human body will never make any impact. Then there are those days when the world seems too bloody small, and you need to invent a way to smash through the atmosphere to make way for your genius mind and evergrowing ego before the poor humans of earth suffocate on it. Honestly, no wonder Van Gogh went mad and cut off his ear; poor lad must have been plotting his escape to Pluto at the time. No matter the madness, creativity should be celebrated*. The sixth issue of The Eye Creative brings to you not only our new look but also the celebration of a heap of insanely talented humans celebrating their individuality and crazy journeys. There’s nothing we love more than a good story, and there are plenty hiding within the pages of this issue!
ON THE COVER
Photographer: Le Tans (Sarah Tansy) Series: “The Men In My Head” www.letans.com
Do yourself a favour, grab a beverage and settle down for one hell of an inspiring read. Send the kids to the milk bar, tell the housemates to put the kettle on for you, ignore the incoming texts from that crazy chick you met at the bar and just relax. We’ve got this. Enjoy my friends. *Please note the team at The Eye Creative does not condone cutting body parts off in the name of creativity; that choice is on you.
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ORCAPPAREL.COM
@ORC_APPAREL IMAGE SHOT BY @ RUSSELL_HOLLIDAY |5
62.
Ashley Ronning
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Becky Sui Zhen
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Le TANS “Men in My Head”
CONTENTS 14.
Ouchflower
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Ash Schmitt
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Christopher Smith
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EDITOR and FOUNDER Samii Lund samii@theeyecreative.com
WRITER. CREATIVE MANAGER Amy Farnworth @amyfarnworth
ADVERTISE WITH THE EYE CREATIVE
WRITER Christian Gabriel
GENERAL ENQUIRIES
ART DIRECTOR Jo Nixon
Please note: The Eye Creative makes all efforts to credit any photographers, artists and makers in all aspects of the magazine. Sometimes, we are not supplied with all of the details of contributing parties to each photograph provided to us by our featured creatives. If an image appears in our publication, and you as a contributing creative have not been credited in our publication, please contact samii@theeyecreative.com. We will offer free advertising or feature in upcoming issues for anyone affected. Terms and conditions apply.
info@theeyecreative.com
info@theeyecreative.com SUBMISSIONS The Eye Creative accepts freelance art, photo and story submissions from creatives around Australia. We may not be able to reply personally to each individual that is unsuccessful, however we will keep your work and story on file for upcoming issues or opportunities. To submit, please fill out the form online at; www.theeyecreative.com
THE EYE CREATIVE ISSUE SIX
PUBLISHED MARCH 2016 BY BLURB.
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WHAT DOES CREATIVITY MEAN TO YOU
We asked for you to write in and answer ‘What does creativity mean to you?” Congrats to Kia, who won herself a prize pack from Hart Space and The Eye Creative by entering with the best answer. The prize this month is worth over $250 and includes:
Michelle M
it gives me a sense of belonging and happiness. Katy, M
Creativity is the freedom to believe in magic and share it with the world. Annelise
It makes the world a brighter and more interesting place. It breathes new life into the mundane, and keeps us moving toward. Kia - WINNER!
Creativity to me means being free to think however I would like about the world even if it is crazy or weird. It’s about finding a tribe you bond with and can make beautiful pieces of art with, people that understand your vision and their own. Creativity is having a belief that you can do anything you believe you can.
Peace Love Bam necklace and Bam ring (both Rose gold plated ) 925 Sterling Silver, an Eco-Friendly Tee & a hard copy of The Eye Creative; Issue Six.
Want to win with The Eye Mag? Enter via our website. theeyecreative.com
MARCH 2016 ISS LIMITED UE PRINT EDI #6 TION
WIN @HART_SPACE
THE EYE CREATI
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Totes loving this bitchin’ tote babes. Starting from under $25, these designer totes from Freckled Duck are like, such an unbelieveable steal. www.freckledduck.com.au @freckledduck
Jazz up your Friday scrabble night by resting your wine on these hand-painted limited edition coasters from Copper & Co. Available for only $25 a pair! www.copperandco.net @furrylittlepeach
If you try to convince your friends that cat hair is the new black, then you’ll most certainly love this Cats Forever enamel pin created by Surfing Sloth. Get yours here: www.etsy.com/shop/SurfingSloth @lukava
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HOLD ONTO YOUR WALLETS
Delicious enough to wear on your first Tinder date. www.etsy.com/shop/ftlov @ftlov_
Who knew that teeny tiny gum nuts illustrated in a jar could become wearable art!? Get your ‘Eucalypt Preserves, Gumnuts Brooch’ by maker Bindy James below: www.etsy.com/shop/bindyjames @bindyjames
Chuck some avo dip in this little guy and your party is sure to hit it’s peak! This little hand-made gem will be the centre of every shindig. The Party Bowl, by DERUM Studio $25.00 www.derumstudio.com @derum
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“We’re not saying that buying “The Green Muggle” will give you powers like a certain boy wizard, but we’re also not saying it won’t.” Harry Potter reference and Pineapples? I’m sold. www.camppineapple.com @camppineapple
Anyone that knows me knows that I am more than terrified of dinosaurs; however, this T-Rex sugar skull brooch from Perth based maker Renee Melia has me considering a change of heart. $12.00 www.etsy.com/shop/whistleburg @whistleburg
Don’t go bacon my heart, I couldn’t if I fried” is all I hear inside my head when I see this. Which is probably an excellent reason to purchase it. Eggs and Bacon Ron Swanson Hand-Embroidered Parks and Recreation hoop $40.00 www.etsy.com/shop/emptydotroom @emptydotroom
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GET YOUR FAN GIRL AT THE READY. If there were a collective world crush, it would without a doubt, be on Matt Corby. The bearded beauty, who makes hobo-chic take on a whole new meaning, has just released his debut album, Telluric (about bloody time Corbs.) Worth the wait, worth the investment. Vinyl as pictured $34.99 from mattcorby.com.au
Description on the site says: “I’m 100% cotton and love a good snuggle on a cold winters night”... now I’m wondering if the bloke comes with the tee.... Either way, for $50.00 it’s a hot bargain. @andfoundclothing www.andfound.com.au
Mr Old Man. Making us look 40 years into the future... stylish and awesome with eye bags that could your grocery shopping. $119.00 @hannahcarrick___ www.hannahcarrick.com
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Philippa’s intricate and delicate hand woven range of necklaces have been a success due to what she says is a surge in support and exposure for artists: “I’m fortunate to be able to make and share my ideas. Back in the day there was little avenue for craftspeople to pursue their dreams…thank God for social media!”
PHILIPPA TAYLOR OUCHFLOWER
Influenced by museum artefacts and the use of fibre and pottery in ancient cultures, the ‘circle’ is often used as a strong motif in her work; with her half-circle fibre adornments looking like they could’ve been plucked from an a exhibition on Ancient Roman or Egyptian fashion.
Whatever way you look at it, 21st Century women are nailing some aspects of Feminism; aspects that as little as 60 years ago would never have been thought possible. You can call it Girl Power (eternal gratitude to The Spice Girls) or simply the desire to ‘have it all’, but whatever the guise, women all over the world are holding their heads high and putting their all into their careers and ambitions…and into motherhood as well.
Currently, Philippa is looking into the tools used in traditional craft work and how she can recreate her adornments in porcelain, again trying to make connections between clay and fibre. And while she’s busy working on pieces that can be suitable for retail, the main bulk of her designs are available to purchase through her online store (www.ouchflower.bigcartel.com) with one range already sold out!
Enter Philippa Taylor, a modern-day Wonder Woman. The 40-year-old mother of two and owner of blog and jewellery range, Ouch Flower, is a breath of modern fresh air. Not only does she juggle parenting with her ceramic and fibre business but she’s managed to hold down a full-time job as a teacher too. Now that’s what we’re talking about!
When speaking about ‘success’, Philippa exclaimed that the word and its connotations are extremely big; yet we think anyone who can adult, work and parent as well as she can deserves that accolade more than most: “Motherhood teaches you to be flexible, diverse, energetic and work-smart; and when it comes to financial stability, it’s ok by me to have a job that pays the bills and keeps you fed; you don’t have to be making full-time to be a success.” Amen sister!
Philippa began crafting her bespoke pieces using the ‘macrame’ form of textile-making while she was on parental leave following the birth of her son. She experimented with tassles and finally basket-weaving which is the technique she used that resulted in the fabrication of her necklaces and the idea that fibres could be wearable.
Written by Amy Farnworth. @ouchflower www.ouchflower.com
After studying ceramics in the 90s, it’s now her ambition to bring her ceramic work and her passion for fibres together.
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CHRIS SMITH PHOTOGRAPHY
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Model: Alice Photography by Chris Smith
Series: Lana & Amanda Photography by Chris Smith
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CHRIS S M I T H PHOTOGRAPHY “There’s something about the way people float in water; it’s nothing like posing or modelling on solid ground. When you float in the water, you can portray feelings through body position that can’t be replicated on land.”
But it’s not just the shots of still, floating beauty that Chris is renowned for. The well-established photographer specialises in weddings too and has been taking photos since he was little, using his relaxed, natural style to capture the emotion in his subjects.
It’s the solitary feel of the images in Chris Smith’s water series that he’s so drawn to; the stillness and serenity enhancing that calm, trance-like state; his models floating, relaxed in mind and body; abandoning all inhibitions.
“I draw inspiration from so many things, including my wife and son, but the main one would be music. Music has a massive influence on how I edit. “Saying that, though, I don’t spend a lot of time in post-production; there’s so much you can do to an image these days but I much prefer to spend my time shooting rather than editing. I want my images to look natural and feel real.”
This natural way of shooting combined with the low-light of a late afternoon gives more depth to his shots, and experimenting with this kind of light, creating beautiful, moody images is the ideal way in which this Melbourne photographer likes to work.
And it’s the succinct way Chris edits that we find so attractive – his shots being focused and bold with no distractions or detailed crowding; he knows what he wants a finished image to look like and will tweak his work until he feels like he’s made it his own. His water series reflects a peaceful state of ecstasy we’d all like to experience and the fact he can capture that on camera without having to massively digitally manipulate is proof that his talent is much more than just natural ability; it’s an innate passion that he’s unwilling to suppress.
“I’ve always loved the water. It amazes me how strong and powerful it can be but also how still and calm it can be. Depending on what you’re trying to portray you can use it to create a mood and feel to the image.” Chris has used water in his landscape images for a long time, and as he began concentrating more on portrait work he decided he should try and combine the two, developing an emotional portrait series.
Written by Amy Farnworth. @_christopherrobert_ www.christopherrobert.com.au
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LEFT & RIGHT Model: Alice Photography by Chris Smith
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Model: Alice Photography by Chris Smith
CHASING
AMY LOU become blurred and creatives only produce for financial gain? What happens when consumers only consume art for which they have paid? The market becomes saturated and we lose what we set out to accomplish with art in the first place; freedom of expression and opinion.
“Art is an expression of the soul.” Or something along those lines. Gandhi, Picasso, Einstein, Da Vinci and other great influencers have all said similar things. Being creative, in whatever medium, even if you don’t class yourself as someone who produces ‘art,’ is one of the most beautiful and significant ways of expressing your individuality, your ideas, and your opinions.
Yeah, so loads of artists get paid. We as Creatives all want to get paid (Christ, I’d love to be rolling in hundred dollar bills and smoking the small change as a result of a signing a multi-million dollar book deal; but that hasn’t happened. Yet). Sometimes we do receive a handsome fee for commissioning work..sometimes we don’t. But what about art as not just a producer or creator but as a spectator and consumer? What about consuming art, becoming influenced by art, and being
Creating ‘art’ or ‘expressing oneself’ is something that has always come free. I write for free, many of you will paint for free, many will write songs for free and many will take photographs for free – because that’s what we love to do and it’s something that should always be free – free to produce and free to distribute. But what happens when the boundaries | 26
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inspired by art without having to pay for it? We can all go to a fancy gallery and pay a small entrance fee; we can buy a Banksy or a Mark Rothko; we can pay to see bands perform; we can part with cash for that hip, bespoke, mid-range priced necklace to adorn our creative necks. But what if we could get art, real art, real expressionism, real soul, for free? Oh wait, what was that..? For free? Well, we can. And it’s pretty damn easy.
These artists do it for our benefit; they do it for the spectator, for other creatives, and they do it with purpose. Street Art is more than just a ‘scene’; it’s not going to go away. And the best thing about it? We don’t have to pay to see this art in all its impressive form – it’s there for us, right before our eyes. I’ve travelled to many countries over the last decade and regardless of the ancient relics I take photos of, the historical artefacts I go to see, and the wine I like to sample, I will always be more mesmerised by the Street Art that covers the city walls. Some of it invasive and obvious, some of it there to be sought out and discovered.
Free art is available for our taking on the street. It’s everywhere we look. It’s the raw, the gritty and the provocative. It’s hidden message after hidden message. It’s the bold statements about politics and blatant expression of social angst; inspiration and innovation of sub-cultures and youth movements; the improvement of run-down neighbourhoods that were once devoid of colour; it’s infectious and encouraging; it’s eye-opening and thought provoking. And it’s Street Art. Not graffiti, not mindless vandalism. But real, low-down, intricate, risqué, sex-fuelled, passion-fuelled, idea-riddled Street Art. And it’s a continuously growing global phenomenon.
As much as I’m an advocate of supporting struggling artists; paying to see exhibitions and paying for bespoke murals or sculptures, attending gigs and buying from independent clothing labels, and ultimately helping other creatives to make it in a challenging industry; I’m also an advocate of sharing creativity without a price tag. If we can unite the creative world through one medium, what better way than Street Art? It’s free and it’s powerful. And in a world where the words ‘freedom’ and ‘power’ are far from synonymous with each other, we could all do with looking to the streets to help seek out our artistic souls.
Thousands of stencil artists and spray painters, sculptors and installation specialists take to the streets to voice their opinions, to shout out in response to the social ills and political problems of the zeitgeist. They paint messages for a generation, words for those who can’t or won’t speak up; they depict what many of us in today’s society are thinking; they’re the believers and the challengers.
Written by Amy Farnworth www.chasingamylou.com @amyfarnworth
The world is a blank canvas and plenty of international Street Artists are covering it with their tags and marks; their own unique expression. Yeah some of them may be commissioned, and I’m sure Laser 3:14 and Banksy find ways of making a buck of two from their highly charged socio-eco-politico war-cries, but they don’t just do it for the money.
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ARLIA HASSELL JEWELLERY From hammered, block-looking studs to her rough and ready Tear Drop Pendants, Arlia’s style is a reflection of the products with which Mother Nature has so generously gifted us and she showcases just what can be produced from the materials found in our natural environment.
Raiding your mum’s jewellery box is a rite of passage and a dream come true for any little girl; combining several pieces at once with a stoic adamance that the miss-matched styles looked ‘on-point’ and ‘utterly beautiful’ was never to be quaffed at. Most of us grow out of this phase (at some point) but for Byron Bay’s Arlia Hassell, the struggle to let go of that childlike obsession was all too real.
Her oxidised sterling silver pieces are wonderfully crafted with unique scratched or shine finishes, making them perfect for someone who favours those one-of-a-kind adornments.
Reaching the age of 23 with a quarter-life-crisis in full swing, Arlia quit her day job and began studying the art of jewellery making, eventually setting up her own business in 2014; a move that’s allowed her to express her creativity in a way that she could never achieve with words.
Speaking about her work and how social media has been instrumental in helping her build her business, she is grateful to the power of the internet which she says has “opened up a lot of opportunities”, enabling her to ship her products worldwide.
Arlia sources recycled metals and materials, uses ethically mined gemstones and works with low-impact chemicals to produce her range of strikingly rustic, original and genuinely ‘earthy’ necklaces, rings and earrings; her love of the environment being at the centre of all of her work.
With her sights set on a move into wedding and engagement jewellery and a desire to help people with disabilities engage in creative arts, Arlia is keeping that childlike, jewellery-box dream, well and truly alive. Written by Amy Farnworth. @arliahasselljewellery www.arliahassell.com.au
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BECKY SUI ZHEN | 32
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alluring vocals relocating to the background. On the periphery, she has several collaborations under her belt, notably Melbourne’s energetic ensemble NO ZU, directing music videos for other groups and playing DJ sets in between whenever she can. 2015 saw Becky return with a new album and a mysterious new companion - a blonde-bobbed, blued eyed femme named Susan lost in a delicate pasteldrenched labyrinth. Within it a combination of smooth synths, jazzy-saxophone, Bossanova beats and electro emotionalpop dwell, Sui-Zhen’s lyrics narrating along the way. Accompanied by dreamy/disturbing music videos, atmospheric live shows (with band Sui et Sui) and continued promoting for Secretly Susan, Sui Zhen is very much an independent producer in mid-stroke and gaining momentum toward higher goals.
Becky Freeman, aka Becky Sui Zhen (pronounced ‘soo-ee chen’ for you first timers), is a someone to learn a lot from. To investigate her is to discover a methodic arc of artistic achievements spanning musical, visual and thematic elements. A traveler, folk writer, music student (including the prestigious Red Bull Music Academy in London), synth-fanatic, club DJ, a cinematographer all mere facets of the work she has conceived and made available on the YouTube and SoundCloud alone. From guitar-based work in the latter-2000s, she released two EPs (Female Basic, Body Reset, 2014), through independent Japanese labels. Taking influence from the country itself, she displayed a contrast in sound, utilizing 808s and drum machines to create minimalistic nocturnal soundscapes with | 34
Where did your creative journey with art begin?
I felt like music came more naturally to me. It took time for it all to culminate within my practice and I wrote a lot of songs and through that process, discovered the direction I wanted to take. RBMA gave me the sense that it was all possible, that being a musician and fulfilling my other interests was all achievable and that I was already doing it. It made me realise that when pursuing a musical life, we each have our own distinct paths to tread. It also inspired me to continue following what was in my mind and my heart, if I wanted to self-produce I’d make it work and so on. I’ve always been a curious person and it doesn’t take much for me to feel inspired, if I know where to look.
I don’t recall a beginning moment but since childhood I’ve always felt inspired to make things. It started with writing stories and drawing pictures and then evolved into crafts, visual arts, performing music & drama during school. I wrote my first song around 14 or 15 years around the time I met my first ‘serious’ boyfriend. I also performed a monologue for my Yr 12 HSC which I had written myself. Inventing characters to inhabit came fairly naturally. So throughout school it became fairly clear I’d pursue a creative practice, and I’ve been following my interests since then.
How has your geographic location shaped you? What has relocating to Melbourne brought to this collection of experiences?
You have had a number of creative environments to influence your eclectic style, what have each of them taught you? What impression did the atmosphere at the Red Bull Music Academy leave on you?
Relocating to Melbourne helped me connect to a healthy and prolific scene whilst also affording me the lifestyle to work part-time and pursue music comfortably, without too much stress about earning enough money. My current band members are mostly from NSW, but moved here for similar reasons.
I have learned the most about music from spending time with various people who are interested and passionate about new forms of music. Many of those people tend to be record collectors who have sought out music in a deeper way to find things that they really connect with. Instead of just expecting to hear it on the radio or online, people that actively interrogate and investigate the music in their lives. I’ve taken a lot of influence from music I’ve heard in a mix someone made. That’s not to say live musicians haven’t equally informed me… many people I play music with, jam and hang out with inspire me greatly. Through making music & experimenting with other people, I’ve probably learned the most.
Melbourne has attracted so many musicians from interstate as well as keeping local musicians inspired to remain here, or return here. Because of the culture that has been nurtured by the community and local government, I’ve seen how much this can impact on musicians being able to make their music practice a viable & sustainable career. It feels more possible here. I think you make your own luck but I have been fortunate to meet some amazing collaborators in Melbourne. I’m never short of people I want to work with. Whilst I long for the nature of NSW, the hills, the perspectives, the waterways etc… Melbourne has great people, within the broader arts sector and I’ve engaged in great work whilst living here in music and my other pursuits.
Prior to attending Red Bull Music Academy I completed an undergraduate degree at UTS in Sydney. It was there that I met my first real creative collaborators who were mostly filmmakers. I thought I would make film but diverged down the musical path and learned a lot from going to club nights and band shows in Sydney. | 35
2012’s ‘Two Seas’ LP shows your skills as an accomplished folk writer-producer. What influenced the transition to creating electronic-produced music over guitarwritten material from your past?
I’d sent a mix of the album to Two Bright Lakes and they were keen to put it out in 2014. We kind of just knew when it was finished, we tried out all the ideas, push and pulled the tracks until each had a place in the sequence of the album. Although it was ready in 2014 I had to create all the visual components and that took a bit of time because I had to invent a new aesthetic that moved away from my earlier folky incarnation.
I had listened to electronic music for a really long time alongside listening to folk, rock, grunge and other genres I was into during my teen years. I learned to write songs with a guitar and it felt natural to want to get better at song craft through that method first, before breaking it down and trying different things. I saw Two Seas as a song craft experiment. I felt that if I could captivate and communicate stories through song with just a guitar than I’d be able to tackle more complex arrangements with more ease. It was like learning the rules before breaking them. I also didn’t really think I could just dive into electronic production. I didn’t know what I was trying to say. Now I’ve listened to a lot more music and have a better understanding of production. So it now feels natural to make music with a whole range of equipment. As my interests shifted, so did my sound.
The Susan persona featured in the new album and Take It All Back video is visually captivating - how did she come to be and what does she represent to you? Susan came to me during many listens to the album and sketching of ideas. I was interested in identity and how we construct multiple identities for ourselves on social media, online profiles, within our professional lives etc. We have digital doppelgangers who are each inaccurate … what happens when we try to make a version person from a few photos they post online? What kind of lives do we think they lead and what is real within that version of themselves. It is those kinds of thoughts that lead to creating Susan.
On a technical/logistical/emotional level - how was the ‘Secretly Susan’ recording process for you?
Susan to me represents a projection of self, something unattainable and one-sided… she isn’t real and wasn’t ever intended to be, Susan is an idea of someone you might have.
Recording Secretly Susan came in phases. I had demos created for most of the songs in 2013. I’d been fortunate to receive a grant from the Australia Council so there wasn’t any financial pressure, which was nice. I just demo’d a lot until I had about 20 or more ideas. Then I engaged Todd Dixon to help me record the album versions. We completed this in between my work commitments, at the time with Melbourne Museum. . It mostly happened in his home studio but when creatively stuck we moved to different locations… a house in Warburton, my house in Brunswick… but we didn’t feel a huge rush with it. We spent the time it needed and only when it felt close to finished did the urgency to make final decisions arise.
What do you feel is the intention behind the visual aesthetic of your work? The visual aesthetic is an extension of my creative expression. The intention is simply that, it helps to build out the world I want to music to inhabit. Allows me to express other ideas I have that can’t be all translated within the music. Moods and moments and subtle observations take life within the visuals. I love having this outlet to play within.
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In addition to your own expressive videos, you lend your talents to directing and editing the music videos of other artists. In what way do you modify your creative energies for their projects? Lately I’ve been feeling like my music video practice is really an extension of my own self expression. I am not sure I’ll be able to pursue video making with others unless we are fighting for the same vision or story. When working on others projects I like to know their direction and intentions and see how we might craft a vision around what they want to say. Many musicians don’t think it through that much until you present them with ideas and they are able to assess what they feel comfortable with. It’s hard to negotiate but it can be really rewarding when you are on the same wavelength and the collaboration just flows. I’d like to collaborate with like-minded people in the future but for now, I’m content making my own videos.
As an active DJ, where would one begin in your record collection? Where did their influence intersect with your creative approach to music? I seek a lot of female artists and role models within my record collection. You could say Sade, Mariah (Yasuaki Shimizu), Dip in the Pool… I think the city-pop, soft-lounge pop and Japanese tip would be a good place to start. I just love listening to different records and production styles for inspiration on how to approach song making. It could be a rhythm or a particular drum sound. It’s a great resource to have as a musician, especially when seeking inspiration.
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Your current live show propels the mood of your album with the Susan projections, outfits and soft lighting. Do you feel an importance to set a tone for a venue audience? Yes I love mood setting! Where possible I like to control the tone of the venue somewhat. You can do a lot with lighting and costume, and the audience responds really well to these simple devices. I think setting a tone in any space is important. Whether it’s at home, a venue, a restaurant, vibe is really important to making the right connection with people.
Last year you touched base with the U.S. Will you be returning and where else do you plan to tour? I hope so! Secretly Susan is getting a US release (shh!) so I will aim to get there again in 2016 to play a few shows and promote the record. I also plan to get over to the UK/EU to make some connections there. And of course, an artist residency in Japan later this year to compose new works. I can’t wait for that.
Where will Susan be taking the Sui Zhen experience next? Do you desire to explore further in what you’ve created or is another transition likely? Another transition is likely. But Susan won’t end… she’ll just move on :) Interviewed & written by Christian Gabriel @beckysuizhen www.suizhen.com.au
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ASH SCHMITT
ILLUSTRATOR
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Do you ever get tired of people telling you to ‘take it easy’ or saying ‘you work too much’? Yeh, well, if you’re creative there’s more than an 80% chance that you get told this on the daily. It’s no different for our mate Ash Schmitt, who is currently building quite an artistic empire, with commissioned work and an upcoming solo show, all this while trying to keep a hold on what some call the ‘normal’ side of life (social life, relationships, etc.) Something at which, he’s doing surprisingly well considering that we only have limited minutes in the day.
“I draw everything in Adobe Illustrator using a Wacom Cintiq, everything I do is digital. I’ve tried painting or drawing the traditional way, and I’m just no good. Drawing digitally allows me to keep a consistent style and colour palette.” Having started taking on commission work in 2015, Schmitt is relatively new to the whole art game. However, his stance on what he’s worth is already embedded within; “Don’t work for free or less than you’re worth. I get a few messages a week asking if I can draw something in return for exposure. “You can’t eat exposure” is a quote that sticks with me.” (If we could eat exposure, we’d all be moderately obese, or rich; depends on how you look at it really.)
However, with a sarcastic sense of humour that is evident throughout his work, there is no wonder why the work of Ash Schmitt is catching on in the public eye. There’s nothing more hilarious to me than seeing Kanye West’s tweets on the daily. I mean, the guy is the most fascinating figure on the planet if you don’t take him seriously, which is why the team and I at the Eye are hugely entertained by the newest series from Schmitt.
With an upcoming show and full-time commission work on the horizon, there’s no slowing down this talented illustrator from Perth – and thank Yeezus for that. @schmitt.com.au www.schmitt.com.au
Schmitt’s upcoming show titled “Real Friends” is focused on our favourite West, with not so subtle jokes hindering at the arrogance and hilarity of Kayne’s statements and presence as a public figure. Schmitt cleverly manages to bring a light side to the almost terrifying self-important persona that is West if one were to take him seriously (which we do not suggest you do). For such a laid-back, hilarious approach to the media storms surrounding his subjects, Schmitt certainly doesn’t have the same approach to his illustrations. In fact, coming from a traditional portrait artist, his medium doesn’t get any more complicated or time-consuming.
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MEN IN MY HEAD PHOTOGRAPHY SERIES BY SARAH TANSY (LE TANS)
Instinct driven. Evocative. Edgy: this is Le Tans (AKA Sara Tansy) and she’s so goddamn hot right now that we’re struggling to cool ourselves down! (Someone pass me the fan, yeah?) After being gifted with second-hand lighting gear from her photography mentor, the Fijian-born fox was off and running on a photography mission. And following a discussion with a few girlfriends over a bottle of wine or three (as you do), about the age-old adage, ‘Why is sex always seen from the man’s perspective?’ the idea for The Men In My Head took shape.
“Sex as an art subject is important to me, but I wouldn’t class myself as an art photographer, or even a nude photographer; this series is probably the only one of its kind I will produce. Sex in the media is such a huge subject to tackle; I’m happy if I spark even the smallest of conversations.” @letans www.letans.com
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Where did it all start?
Stop for a minute and imagine your life without creative drive flowing through your veins. Would you be sitting, like a robot at your desk wondering what TV show you’re going to watch on Netflix that night and what takeaway you’re going to eat that night? Just kidding, that’s what we all do, creative brain or not. But what if you were able to get out from behind that desk and find your calling; your freedom from the 9-5 and still be able to indulge in the brilliant crap that is Netflix late at night to the wee hours of the morning?
I’ve been crafting skateboards since I was a little kid – around 14. My mates and I used to get together and walk down to the hardware shop, buy a plank of wood the size of a tree and walk it all the way home on our shoulders. Or we would scavenge off cuts from building sites around Melbourne. We would then chuck it on the grass in my backyard, pencil out some shapes and cut them out with a jig saw. These were pretty rough planks, but they did the trick. We always had loose skateboard hardware lying around, so we made quite a few. Some of the old boards were from old fences, some hardwood offcuts, some were cut out of shitty old skateboards, some old floorboards, one was made out of plywood and fully fiberglassed and sanded back – which later snapped bombing down a hill. Whatever we could find, we made boards out of them. So yeah, it’s always been a passion I guess, I never thought I would actually end up owning a skateboard brand, but I did always want to do it – it was definitely a dream of mine…to see strangers skating around on my boards.
For most creative-brainers (new word, go with it), the hard reality of working two maybe four jobs to keep the artistic business going is all too real. I get it; I founded this magazine, yet I still work a full-time job in real estate (no judgments please – just pass the coffee). For some of us, though, the tough path ahead of making it work is but a mere obstacle. Enter Alex Hunt of Hunt Skateboards.
Dad used to tell me stories about how he used to skate down huge hills in the streets of NSW on these rough as boards when he was a kid, nothing like what we have today, but I reckon they had way more balls than we do now. Kids back then had no fear. So from that, I’ve always admired the classic skateboards – the handmade hardwood timber boards with either urethane or ceramic wheels and the mini trucks. They were so badass, and you don’t see them around anymore…when you do it’s either on a wall of a surf shop or on ebay for a few hundred dollars. That has inspired me, to bring the classic back. To bring a fresh and new board into the industry that yells old school.
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But I guess the real challenge was getting everything else right. I organised some custom trucks to be manufactured to suit my board and the feeling I was going for… luckily I fluked that, and it worked out first hit. But just the whole starting a business thing was a bit tough.
In 2012 I started a skateboard business with another mate, we went to town playing with new ideas. Sourcing bamboo and Canadian maple veneers and gluing them together in a press we built, we spent a shit load of money, and we made a few, and they were sick – beautiful actually. But we grew apart and the business sort of fell apart with it. From then on I didn’t think it would ever happen again but in 2014 I started playing with ideas again, I made a whole heap of shapes, logos, names, everything – so much so that I gave up because it gave me the shits. Some of the names and logos were so bad. But when I had almost no hope left, there was this old offcut of tassy oak hardwood that dad had in the shed. It was really skinny and long. I stared at it for a bit and thought, fuck it ill put some trucks on it and see what it feels like. After cutting it to length and fixing the hardware to it, it shredded amazingly, it turned like crazy and was really stable….so with about 3-6 months of tweaking and design development, the hunt skateboard emerged. It happened in the same respect that it did when I was a little kid – just using a crappy offcut. Sometimes less is more I guess.
Other than that…I craft every board by hand on my own, so that’s a bloody workout.
Has creativity always been important in your life? Why? Always, I was the arty kid at school, didn’t play any sports, I skated/ surfed and shit on the weekends and painted and made sculptures at school. Absolutely sucked at every other subject. But creativity and Art runs in the family. My grandpa who lives in Geelong is pretty highly regarded for his artwork, and that has sort of run through the family. Everyone in my family is creative in their own respect. It’s been a huge part of my life; I ’ve been studying for almost seven years, and I’m about to complete my masters in Architecture…my other life ambition – but who knows which path I’ll take.
What obstacles did you encounter during the startup process of your business?
What’s the biggest lesson you’ve learnt so far in starting your own creative business?
There were heaps. Firstly I wanted to get the balance right on the board. It wasn’t just about how it looked…although that was pretty hard to do.
It’s allowed me to be myself. I work at my pace, and I make all the decisions. But it’s also enabled me to learn a whole heap of things about business and the retail industry. But the biggest lesson would be…to just go for it; take the risk. If it fails then so be it, at least, I gave it a crack.
I went through about 12 planks of timber to get the dimensions right so when it was under my feet it didn’t get speed wobbles, it didn’t tip when I turned, it didn’t slip out, it didn’t turn too tight or long, the right length for foot position, the right tail length so that you can pump it – a whole series of things in which I needed to get perfect. I am really anal about how a board feels. I wanted to create something that felt great under the foot but also performed like a high-end skateboard.
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What materials are your products made from?
How does the use of social media impact your business?
Tassie Oak. The reason I picked it is because I think the timber is beautiful. It’s also quite light, but, more importantly, it’s really strong. It won’t break – which is pretty damn important. The reason I chose hardwood timber is because I am inspired by the classic skateboards of the 50’s and 60’s. It’s what the skateboarding industry (even though there’s a few doing it) is lacking.
I like the idea of people coming together, the idea of community, friends having a good time – forgetting about all the bullshit that the rat race brings with it. It’s not about becoming a huge sensation, it’s about taking life a little less seriously – which I think everyone should do. Yes, I think social media is the best thing for it – Instagram allows me to capture my vision but also to give something for the public to relate too. It lets me spread the word, and it’s a great networking platform.
What does it mean to you to do something you love each day?
I’ve just received a licence agreement from Sea Shepherd Australia to do a limited edition SS board in which all the proceeds will be donated to them. I’ve teamed up with a local Artist named Astrid Mulder who makes breathtaking illustrations – she’s responsible for the artwork on the bottom of this board. This will be auctioned in a few months. But this would not be possible without social media.
It’s not work. It’s a childhood dream come true…I don’t care about the money or making it big. I just want to make boards and make people happy. But the feeling of crafting something for someone else’s pleasure is awesome. It makes me feel good. Beats sitting in an office chair every other day. Skateboarding is a lot like surfing when you do it you get fully submerged in the present moment, and you sort of become one with everything. It’s an amazing and therapeutic feeling. It’s hard to explain…. but it’s like describing colour to a blind man. So the fact that my work entitles me to create a sort of portal into a more positive outlook on life means that my work has purpose – more purpose than just making money.
Are you exclusive to Aus? Yes. Exclusively to Australia. Support your local. Ride Local Ride free. @hunt_skateboards www.huntskateboards.com.au
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WWW.EYOTACLOTHING.COM | 61
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ASHLEY RONNING
ILLUSTRATOR | 63
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Ashley’s love of plants has been explored through her series of Plant Feelings and her Deep Space House Plant project. Our favourite pieces being the Computer Error risograph art print and her BioCd Fern Forest. They’re just so weirdly wonderful – not quite sci-fi not quite cartooned animation; we can’t get enough!
Ashley Ronning doesn’t do things by halves. The Melbourne illustrator feels that creativity is the method she uses to navigate all aspects of her life, after all, she did cut her hair off to complete a picture of a Pony, when she was four years old. Beginning to work full time as an illustrator at the end of 2014, Ashley has come about as far as she could’ve dreamed in a relatively short space of time. Collaborating with other artists and partaking in group and solo exhibitions, she’s putting her projects out there for all to see.
She’s also created iron on patches which she sells on her Etsy site, and a series of Zines with friend and long-time collaborator, Sarah McNeil; a partner who was instrumental in the building of their Caldera Press project – a publishing outfit that focused on risograph printing, publishing and distribution.
Her work is derived using ink and a nib pen or brush to draw, and she colours with gouache or watercolour. Her images are poppy, cute and playful, and her Risograph prints have a childlike quality to them as she restricts her colour palette, using only a few colours in any one piece to make them stand out.
But it’s her publishing project that she’s most passionate about: “I hope to have completed an exhibition or art book within a year, to have published a few more books under my small publishing project, Helio Press, and to also develop my style further. Doing something I love means the world to me, and I wouldn’t have it any other way.” Catch Ashley’s work in real-life at Melbourne City Library in April as part of the group exhibition, ‘Playtime’. Her publishing project can be found at heliopress. bigcartel.com, and you can buy her quirky artwork, original prints, zines and a pack of ‘mystery studio items’ from her Etsy site etsy.com/au/shop/ashleyronning. @ashleyronning www.etsy.com/au/shop/ashleyronning
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CARLA MCRAE
ILLUSTRATOR Name: Carla McRae
Even if you’re working by yourself, you don’t have to go it alone. When you don’t know how to do something, ask someone who does or if you feel out of your depth reaching out and asking for advice will usually always help. There are plenty of people who are doing the same thing as you, and have done it before, and they’re usually jubilant to lend a hand. I was fiercely independent for the first few years and was very shy about asking for help. I’ve realised that who you know, and the friends you make can make your life and work so much better! Even just having
Location (city): Melbourne What obstacles did you encounter during the startup process of your business? Initially when I started putting my artwork out there and advertising that I was free for jobs, I had no audience and, therefore, no work. Nobody knew who I was, and my work wasn’t very good, so nobody hired me. It was a slow build of putting work online consistently, engaging in creative communities (online and in real life) and doing things like working for very small amounts or free to build up my confidence and experience. In the process of practicing, naturally my work got better and I slowly garnered a little following. The internet has been so helpful for me. Also, just basic stuff like email etiquette and invoices, that stuff I had no idea about in the beginning and no one had taught me how to do it. For years I worked in hospitality to supplement my income too. It’s only in the last year and a half that I have freelanced full time.
Has creativity always been important in your life? Why? Yes, I feel like it’s always been the thing that has taken up most of my mental space and time! It’s difficult to say why I’ve just always felt inclined to be making, drawing and thinking about the arts. From being obsessed with cartoon characters and drawing them repetitively as a child, to hoarding magazines as a teenager and everything I do today, I have always been a huge collector and consumer of art, design and visual medias! For me, it’s an outlet, a way to relax and also a way to process my thoughts, feelings and life.
someone to talk to or bitch about clients with can make something like freelance life feel less lonely.
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What does it mean to you to do something you love each day?
Where do you see yourself and your business in the next 12 months?
It makes me feel so, so lucky. I’ve done quite a bit of time making sandwiches, serving ice cream, working in a factory and flipping patties so to have the freedom and privilege to be self-sufficient and living off my work right now feels incredible. I feel so lucky that my work resonates with people and that it has some role in the world and peoples’ lives that feels special and is the real reward for me.
I hope to be working on bigger and more exciting illustration projects, painting more murals and managing to put out more of my personal work. Hopefully, I will have struck a good job/life balance by then, and have magically gained the time to squeeze in more exercise or less easy meals! I’m excited for the next year - things feel excellent and positive, and I can’t wait to see what’s in store.
How would you describe a normal day?
@thepaperbeast thepaperbeast.com.au
I sit down at my desk in my home studio at 9 AM, check emails and start whatever is on the agenda for that day. It might be working for the sock company Odd Pears that I am Creative Director for half of the week, or an illustration job or personal work if I’m lucky. I usually get pretty stuck into it and forget to eat until about 2. After lunch I might go for a walk if it’s nice out, or run some errands, then come back to my desk and get stuck into work again until dinner time. If I’m really busy I’ll hit the desk again for a couple more hours before bed, or catch up on some admin stuff. Since I work from home, I do find it difficult to switch off or differentiate between time I should be ‘working’ or ‘playing’. But I really love what I do so most of the time I don’t mind : )
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hello@maxandjack.com.au | ONLINE STORE LAUNCHING MARCH 30
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www.hartspace.com.au
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www.theeyecreative.com | 72