Trouble August 2018

trouble 159

My Monster: Animal Human Hybrid RMIT GALLERY 29 June – 18 August 2019

IMAGES IN ORDER OF APPEARANCE Kate CLARK, Gallant 2016, fallow deer hide, antlers, clay, foam, thread, pins, rubber eyes, wire, dimensions variable.

Image courtesy of the artist. | Lisa ROET, Humanzee Part 2 from the ‘When I laugh, he laughs with me’ series 2014, C-type photograph,103.5 x 145 cm. Image courtesy of the artist, Hugo Michell Gallery, Adelaide and MARS Gallery, Windsor | Barthi KHER, The Hunter and the Prophet from the series ‘Hybrids’ 2004, diasec print, 76.2 x 114.3 cm.

Image courtesy of the artist. | Julia deVILLE, Peter 2012, rabbit, antique sterling silver goblet (2.15g 925), 17 x 15 x 21 cm. Image courtesy of the artist and Sophie Gannon Gallery. | Janet BECKHOUSE, Mermaid Bowl 2017, stoneware, glaze, lustre, 28 x 9 x19cm, Reptile Woman 2017, stoneware, glaze, lustre, courtesy of the artist. Installation image, photographed by Mark Ashkanasy, July 2018 | Jazmina CININAS, Blood Sisters 2016, linocut reduction, 69.5 x 56 cm. Image courtesy of the artist.

RMIT Gallery | RMIT Building 16 Level 3, 344 Swanston Street, Melbourne VIC - rmit.edu.au

CONTENTS MY MONSTER: ANIMAL HUMAN HYBRID

RMIT Gallery ............................................................................................

COMICS FACE

Ive Sorocuk ..............................................................................................

LETTERS FROM THE INSIDE

Lisa D’Onofrio ...........................................,..............................................

PATTERNS OF COLLECTING

Holly Barbaro .....................................................,....................................

FROGS BUT FEW PRINCES

Alexandra Sasse ......................................................................................

AUGUST SALON

Always Sexy .............................................................................................

FINDING THE ART IN PHUKET: THE ART OF LETTING IT FIND YOU

Anthony S. Cameron ...............................................................................

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COVER: Ronnie van HOUT, Sculpt d. Dog 2001, print on archival museum rag paper, 81 x 51 cm. Image courtesy of the artist. My Monster: Animal Human Hybrid, RMIT Gallery, 344 Swanston Street Melbourne (VIC) - until 18 August - rmit.edu.au Issue 159 AUGUST 2018 trouble is an independent monthly mag for promotion of arts and culture Published by Trouble Magazine Pty Ltd. ISSN 1449-3926 EDITOR Steve Proposch CONTRIBUTORS Ive Sorocuk, Inga Walton, Anthony S. Cameron, love.

FOLLOW on issuu, facebook & twitter SUBSCRIBE at troublemag.com READER ADVICE: Trouble magazine contains artistic content that may include nudity, adult concepts, coarse language, and the names, images or artworks of deceased Aboriginal or Torres Strait Islander people. Treat Trouble intelligently, as you expect to be treated by others. Collect or dispose of thoughtfully.

DIS IS DE DISCLAIMER! The views and opinions expressed herein are not necessarily those of the publisher. To the best of our knowledge all details in this magazine were correct at the time of publication. The publisher does not accept responsibility for errors or omissions. All content in this publication is copyright and may not be reproduced in whole or in part in any form without prior permission of the publisher. Trouble is distributed online from the first of every month of publication but accepts no responsibility for any inconvenience or financial loss in the event of delays. Phew!

This comic first appeared in Trouble JULY 2013

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Letters From the Inside Lisa D’Onofrio

A spoken word performance of letters written by men and women in central Victorian prisons. | Created by Lisa D’Onofrio | Performed by Donna Steven, Stephen Mitchell, Hector MacKenzie | Directed by Kate Stones | Sound Production by John Rowland LISTEN NOW: https://soundcloud.com/user-245902007/letters-from-the-inside

PATTERNS OF COLLECTING

by Holly Barbaro

THIS SPREAD Detail from an artist-based wall installation in The Green Drawing Room, WUNDERKAMMER. Image by Adam Luttick, Luts Photography, Melbourne, VIC.

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Stepping across popular memory, generations and continents, even our most humble of collected possessions can be imbued with great value. Patterns of Collecting: From the Bower at The Johnston Collection reveals the secret life of our collectibles and how we may unknowingly be collecting in collective parallel. Curated by artists Deborah Klein, Louise Saxton, Loris Button and Carole Wilson (the Bower artists), items from each of the artists’ personal collections sit alongside the permanent collection of The Johnston Collection (TJC).

Carole Wilson speaks about the exhibition and the ties between the artists’ art practices and each other.

The Bower artists are all connected in various ways – as friends, from exhibition collaborations, and as academic colleagues. The exhibition’s concept can be traced to Saxton’s and Wilson’s exhibition Gardenesque in 2004, that revealed their shared interest in garden and domestic architecture. In fact, all but one of the artists’ studios are located in a garden. Klein and Button joined the conversation and Wilson says that after visiting each other’s studios it “got us firing – we all had areas of (collecting) commonality. We all kept sewing paraphernalia from our mothers and grandmothers such as sewing boxes, buttons and knitting gear”. Uncanny similarities were discovered such as Saxton keeping a cigarette tin of drawing tools from her grandfather, as did Button, passed down from her own father. The artists’ residencies from overseas and from travel also formed strong shared patterns in each of their collections.

Patterns of Collecting / Holly Barbaro

The Exhibition The Patterns of Collecting range of exhibited objects are vast and eclectic, encompassing tea sets and cups and saucers, grandparents’ salt and pepper shakers, vintage clothing, embroidered coat hangers, a toy sewing machine circa 1950, maps and atlases, a plate souvenir from the War Memorial in Canberra (Wilson hails from Canberra), a yellow serving ladle from Penang, and even an optometrist set meticulously maintained in its original blackwood box, gifted by an ex-boyfriend.

The touring exhibition won the artists popular praise having iterations in the Art Gallery of Ballarat and the Warrnambool Art Gallery. Wilson was approached by visitors telling her they relished seeing everyday collections honoured in the museum. They told her that after feeling chastised to trim down their collectibles, they now felt they had permission to enjoy them.

Wilson notes that in an age where cluttering is admonished and pathologized, both older and younger generations felt vindicated and reinvigorated to collect.

THIS SPREAD LEFT: Detail from The Kitchen, MENAGERIE from Loris Button ‘an accumulation of items and objects associated with my families lives accumulated over time’, courtesy of the artist © RIGHT: Detail from an artist-based installation on the table in The Green Drawing Room, WUNDERKAMMER. Images by Adam Luttick, Luts Photography, Melbourne, VIC.

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The Johnston Collection The house museum environment of The Johnston Collection is a departure from the white cube gallery spaces of the previous exhibitions. Founded by antiques collector William Johnston, the house museum in East Melbourne has a permanent collection of Regency and Georgian furniture and decorative art arranged in a domestic setting. Wilson muses that exhibiting in any space has its rewards and challenges. The Art Gallery of Ballarat offered voluminous wall and exhibition spaces providing great possibilities for display. It also came with ornate heritage skirting boards that had to share the exhibition space.

TJC conversely has reduced wall hanging spaces, yet provides a rich domestic context for the Bower’s collectables. Wilson says the artists aim for their pieces to appear vibrantly against TJC’s spaces.

The interplay between TJC and the artists have both resonances and dissonances. Wilson points out their collectible items do not have a monetary value or age comparative to TJC’s objects. On the other hand, the artists have travelled to India and are drawn to TJC’s objects with an Indian provenance.

The artists all relate to the travel involved to accumulate TJC’s collection.

Most profoundly, TJC and its collection have spurred the creation of new work by the artists. Wilson is drawn to working with old, reclaimed floral carpets, often discarded in contemporary house renovations, and has refashioned pieces in response to the urns in TJC’s collection. TJC’s mirrors, bronze items and silhouettes have also inspired new works by the artists.

Broader Patterns The existence of ordinary or found objects in the art gallery has some history, such as Claes Oldenburg’s Mouse Museum or Marcel Duchamp’s ready-mades.

The Bower artists venture beyond this countercultural and anti-commercial positioning into the personal and feminine – the bower – honouring family relationships, particularly the unsung efforts of mothers and grandmothers.

Artists as collectors is also a known phenomenon and psychiatrists maintain that playing and interacting with objects stimulates creativity. Artists’ collections were examined in Magnificent Obsessions: The Artist as Collector at the Barbican Art Gallery, London, in 2015. Recognising historical artists’ collections such as Rembrandt’s compulsive collection of naturalia (such as shells, corals and other natural objects), Degas’ and Monet’s collection of Japanese prints, and Picasso’s collection of African masks, exhibition visitors could inspect Andy Warhol’s cookie jars, Sol LeWitt’s shoes and Damien Patterns of Collecting / Holly Barbaro

Hearst’s collection of taxidermy. The examination offered fascinating insights into the artists’ practices, yet only two of the fourteen artists in the exhibition were female. The Barbican explained that this was less than they wanted yet they found “the person who is more likely to focus in a very singular manner on a particular type of acquisition often tends to be male.” Patterns of Collecting will show that women, too, are avid collectors, and challenges the imperceptibility of their collections.

As a young artist, Wilson was a founding member of Jillposters, a feminist, underground poster group. Decades later it seems the Bower artists’ examination of gendered and delineated spaces is still as relevant and contemporary as it ever was.

Collective Work Wilson describes working in the artist collective as an interesting experience, enriching and challenging, and one that has triggered ideas between them. She enjoys working in a group and alone, but points out that artists working together is common within the group exhibition genre. Within the collective, the Bower group’s roles are democratic and shared. They are keen to present a mix of their practices throughout the house rather than individual silo presentations. They do allocate tasks according to their individual strengths. For example, Button is particularly skilled in spatial drawing so she often draws the exhibition designs, and Saxton has developed a greater familiarity with TJC’s collection given that she previously exhibited at TJC for the Christmas display in 2016.

Musing on the idea of a bower, Wilson tells me that the name was Saxton’s idea, yet all the women have their own connection to it. Bowers are places to create and collate, and are traditionally the preserve of women. For Wilson, bower birds have played a significant and early role in her life. She fondly recalls travelling to the coast of New South Wales as a child, and her dad’s eagerness to see the satin bower birds there. Wilson recalls appreciating the nests with their assemblages of shiny, colourful ornaments. Stories of childhood, familial and personal connections, shared patterns and corresponding histories, are the Bower’s materials at TJC. Patterns of Collecting: From the Bower at The Johnston Collection is presented at The Johnston Collection until 18 September 2018.

NEXT SPREAD: Detail from an artist-based table and bookcase collective installations in The Green Drawing Room, WUNDERKAMMER. Images by Adam Luttick, Luts Photography, Melbourne, VIC.

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Patterns of Collecting / Holly Barbaro

SELECTED FURTHER READING See the essay on previous iterations of Patterns of Collecting at Dr Jennifer JonesO’Neill, From the bower: patterns of collecting, Ballarat, Victoria, Art Gallery of Ballarat, 2017.

For a case study on collecting as furthering creativity and an extension of play see D. S. Macleod, ‘Art Collecting As Play: Lady Charlotte Schreiber (1812-1895)’, Visual Resources, Vol. 27 No. 1, 2011, pp.18-31.

For analysis on presenting everyday objects in the museum see Gabriel Levine, ‘The Museum of Everyday Life: Objects and Affects of Glorious Obscurity’, Journal of curatorial studies, Vol. 4, No. 3, 2015, pp. 365-390.

For the exhibition publication of Magnificent obsessions: the artist as collector see Lincoln Dexter, Magnificent obsessions: the artist as collector, London: Barbican Art Gallery; Munich: Prestel, 2015.

For a review of Magnificent obsessions see Farah Nayeri, ‘‘Magnificent Obsessions’ Show at the Barbican Explores Portraits of the Artist as Collector’, The New York Times, February 21, 2015, p. C1. Accessible at: https://www.nytimes. com/2015/02/19/arts/international/magnificent-obsessions-show-at-the-barbicanexplores-portraits-of-the-artist-as-collector.html (accessed May 20, 2018).

FROGS BUT FEW PRINCES The Geelong Contemporary Art Prize 2018 9th June – 19th August

by Alexandra Sasse

In looking at art, sometimes you have to kiss a lot of frogs to find a prince. That moment when the object you encounter resonates with eye and mind and takes you somewhere strangely new. The latest incarnation of the Geelong Contemporary Art Prize is no exception. Hurry on down. If you are looking for a quiet place away from the crowds; this is it. A sunny Queen’s Birthday Monday afternoon – the third day of the exhibition – had the public staying away in hordes.

And why not? Given the frog to prince ratio we have come to expect in contemporary art shows, even the June seaside weather is more reliably rewarding. I feel a bit like a punter before a pokie machine. Will this show give me anything for my invested time, my careful perusal of painting and statements?

Or should I be at the beach? Like a gambling addict I am willing to give it a try.

Two large spaces are given over to a collection of paintings in which the only common denominator seems to be – no, not paint; there is the obligatory non-painting (this time a kind of macramé/tapestry). The common factor is a curious selfobsession. I am reminded of Nelson’s blind eye. Artists seem to be gazing intently with no vision.

This prize is a brave one; it has no specified theme beyond ‘contemporary’ which is about as homogenous and useful a definition as ‘foreign’. Selection of works and achieving any coherence with the hang is difficult. The artists direct the traffic for a change, offering up works from their own muse. It can be an opportunity to sniff the wind and to find out what is on artists’ minds, throwing up chance juxtapositions and themes.

Alternatively, it can just look like chaos.

Frongs but few Princes / Alexandra Sasse

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It is easiest to start by stating what is not there. No satire, no politics and no nudity. Are we really at an art exhibition? None of the regular ‘discourse’ pictures you would usually expect to find on globalisation, post-colonialism, the environment, identity politics and the like. Nothing that could be called either controversial or politically correct. Whilst the world is increasingly polarised and strident, art is increasingly inward and bland. The subject matter is almost entirely personal.

Perhaps this is apt; perhaps this is the art we should be making. We are after all in a narcissistic age. All those selfies tell us something. But the difficulty is that such work often does not connect with any common feeling, idea or need.

Narcissism is inherently dull for the rest of us.

Abstraction is the most subjective of styles and there is a lot of it here. Having no attachment to the objective world the artist is free to respond only to the inner world. The best of abstract painting can be an inarticulate embodiment of some sense of our interaction with the infinite; the worst a mere doodle to please ourselves. Gregory Hodge’s A Curious Glance is a swirly confection of squeegee type marks appearing to float in layers on the canvas. The marks are all similarly striated, and of almost identical width and pressure. Shadows are used to place some marks over others, translucency is used for a similar purpose; revealing marks beneath. It’s a banal plaything of illusion in tones of orange and blue.

It might engage a bored child, tracing forms over and underneath; we all find trompe l’oeil mildly engaging, but it goes no further. The artist is interested in … “adapting and translating illusionistic techniques of trompe l’oeil and Baroque traditions” (in this case; swirly) with abstraction. Technical concerns are entirely valid for a painter but a painting about the intersection of traditional technique and abstraction (Hans Hoffman anyone?) still needs to work as a painting. A successful painting melds form with idea into a visual coherence. This takes a great deal of work, it is far more than a sample of swatches.

Louise Paramor’s Boomtown #1 is a glossy stylised painting of an apartment building with a sculpture in front of it. The view point is low, we are looking up at the pale turquoise and white three storey block of flats which appears to have come straight out of The Jetsons. A large sculpture made of what could be a honey dipping stick, a miniaturised roadworks witch’s hat and a toy plastic ball stands in front of the flats. Its all very retro and optimistic. It is clear that

PREVIOUS SPREAD: Fiona MCMONAGLE, Princess 2017, oil on linen. Courtesy of the artist and Sophie Gannon Gallery, Melbourne. LEFT: Gregory HODGE, A Curious Glance 2016, acrylic on canvas, 122 x 91.5 cm. NEXT SPREAD: Andrew BROWNE, The awakening 2017, oil on linen, reproduced courtesy of the artist and Tolarno Galleries Melbourne.

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Paramor’s real interest is in the sculpture which dominates the painting, dwarfing the apartment building. She writes … “the work is a response to the current urban expansion that Melbourne is undergoing and attempts to bring humour and optimism to this phenomenon”. The work exudes humour and optimism, it is the connection to Melbourne that is missing. Paramor’s sculptures are much more successfully juxtaposed in real life – their brilliant colours and forms enhanced by the foil of Melbourne’s predominately sombre browns and greys.

The winning work, Andrew Browne’s The awakening is more rewarding. Melodramatic and almost silly, it doesn’t ask to be taken too seriously. A square plywood board attached to a tree trunk seems to peer at us with its two holes that we read as eyes. The setting is a twilit gloom and bare tree limbs drape themselves like a shock of silver hair. It would make an engaging cover of a children’s book.

Anything might happen here. The work is well made, the surface supports but doesn’t upstage its image. Like many contemporary figurative paintings, it tends a little too far to the photographic, but the scraped surface both depicts and evokes the transparency of the silvery branches with a texture somewhere between solidity and shadow. In terms of our own times, has Browne tapped into a contemporary anxiety? Are we jumping at shadows? Have illusion and reality become conflated? We carry the world of facts in our pockets; perhaps we long for mystery and wonder.

Or simply for a bit of lyrical nonsense. Here the artist’s experience collides with our own and the painting becomes part of our world as well as his.

Brave the crowds and visit one rainy day soon.

Geelong Contemporary Art Prize, Geelong Gallery, Little Malop Street Geelong (VIC), 9 June – 19 August 2018 geelonggallery.org.au

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PREVIOUS SPREAD: Sam SMITH, Nyströms Cafe at Bungenäs 2017. spaced 3: north by southeast, Art Gallery of Western Australia, Perth Cultural Centre, Perth (WA), 18 August 2018 – 7 January 2019 - artgallery.wa.gov.au 1. Kylie MINOGUE, Kylie Kiss Me Once tour, 2014, Photograph by Ken McKay, Reproduced courtesy of Darenote Ltd. Kylie on Stage, Ararat Gallery TAMA, Town Hall, Vincent Street, Ararat (VIC), 4 August – 7 October 2018 - araratgallerytama.com.au 2. Sidney NOLAN, Ned Kelly 1946 from the ‘Ned Kelly’ series 1946 – 1947, enamel paint on composition board, 90.80 x 121.50 cm. Gift of Sunday Reed 1977, National Gallery of Australia.

Sidney Nolan’s Ned Kelly series, Art Gallery of Western Australia, Perth Cultural Centre, Perth (WA), 11 August – 12 November 2018 - artgallery.wa.gov.au

Sarah crowEST, Beaten and Left for Dead 2013 - 2018’, 254 x 218 cm, linen, synthetic polymer paint. Material Constructs: The Home Stretch - Sarah crowEST, Ararat Gallery TAMA, Town Hall, Vincent Street, Ararat (VIC), 3 August – 28 October 2018 araratgallerytama.com.au

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3. Merryn TREVETHAN, Surveilled Cities 1 2018, pigment ink print on archival paper, 42x42cm. Ruin Nation, Fox Galleries, 79 Langridge Street, Collingwood (VIC), 16 August – 14 September 2018 - foxgalleries.com.au 4. Timothy CLARKSON, Washed Away, 2017, earthenware, glazes, 45 x 60 x 40cm. Manningham Art Collection. Image courtesy of the artist and Skepsi Gallery. Slippery When, Manningham City Square (MC²), 687 Doncaster Road, Doncaster (VIC), 29 August – 6 October 2018 - manningham.vic.gov.au/gallery

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Ian NORTH (Australia, born 1945), Fleurieu no. 7 c. 2016, Adelaide, type C print, 62.5 x 170.0 cm (image); private collection, Courtesy of the artist and GAGPROJECTS. Ian North: Fleurieu!, part of the SALA Festival, Vestibule, Art Gallery of South Australia, North Terrace, Adelaide (SA), 4 August – 4 November 2018 - artgallery.sa.gov.au

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Clare BELFRAGE (Australia, born 1966) (from left to right), Segment #15 2006, Leaf Circuitry 2008, Passage #41 2007, Passage #44 2007, Skin Deep, Orange and Pink 2017, In Sight, Green 2016, Segment #22 2006, Petal 2008, Passage #45 2008, blown glass with cane drawing, cold worked, dimensions variable; Gift of Joan Lyons, David and Pam McKee and Diana McLaurin through the Art Gallery of South Australia Foundation 2017, Š Clare Belfrage, photo: Saul Steed. Part of the SALA Festival, Gallery 12, Art Gallery of South Australia, North Terrace, Adelaide (SA), until 16 September 2018 - artgallery.sa.gov.au

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FINDING THE ART IN

Phuket The Art of Letting it Find You

by Anthony S. Cameron

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I’ve seen some decent circuses in my time, but nothing conjured up in a big tent can compare to the daily human circus that is Phuket.

Humans on holiday have a feverish intensity and a unique ability to cluster around sunsets, and what better place to witness the human spectacle than Laem (Cape) Promthep, the southern-most protrusion of this mad little island.

It is late Sunday afternoon and buses arrive constantly, disgorging the thousands of mainly Chinese tourists keen to photograph the shit out of the moment; and Promthep doesn’t disappoint. Not only is the view spectacular, but the sun has applied its make-up, done its warm-ups and is ready for the 6pm show, flexing its performance muscles by sending a few premature splashes of colour across the fading horizon. Phones are thrust out in front of people’s faces, lips pouting, chests expanding, arses stuck out like speed bumps to a true experience as we sit down with our phones at the ready, poised to capture a slightly different spectacle.

Watching people experience unexpected art is always fascinating, but more so this time because my wife and my mother-in-law had created it on our dining table, and now we were at the exhibition opening, if you like, waiting to see what the fickle crowd would do with it. This gallery had no walls, no cheap wine and crumbling cheese to cushion the moment, no bullshit speech by the curator or loud, knowing guffaws to pepper the experience. The art was happening right in front of us.

Our rock art, or should I say pebble art (let’s not get ahead of ourselves here), had been strategically placed throughout the tourist mecca, on benches, handrails, statues, walkways and next to lookout binoculars, which is what we were all staring at now as we got the first bite. A middle aged Chinese man noticed it first. It wasn’t more than a glance, but then he did a double-take, picked it up between two fingers, put it back down and walked off. A young European woman saw it next. Her hair was drawn back in a rough ponytail against a no nonsense face. She walked towards the rock like she knew it was there. She held it in her hands for a long time, rolling it over and over. A smile crept out of the corners of her mouth as she read the label glued to the underside of the pebble, then turned it over again and we watched as the smile she’d been working on overtook the street face that gave away nothing, and for a brief moment you could see the world pouring in. She closed her hand around our pebble and walked off purposefully. I could see the whites of her knuckles as she squeezed it tight.

Finding the Art in Phuket / Tony Cameron

Finding the Art in Phuket / Anthony S. Cameron

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A little girl was busy having a conversation with the next rock when we arrived.

She was holding it up to her mouth and whispering secrets, then putting it to her ear for the reply. Once or twice she laughed, as if the rock was telling her jokes, or sliding her a few witty observations as the crowds walked blindly past and the girl and her pebble crouched down in their own private universe. She kissed our little rock, put it back down on the long bench and ran off happily.

A large group of Chinese tourists with expensive cameras and watches settled down noisily, spreading themselves across the entire bench and began mopping the sweat from the parts of the body they could reach. We lost sight of the rock for a little while. The men had various combinations of checks and stripes of all colours competing for dominance with the multi-layered, old fashioned knee length floral print dresses the women were wearing. They all seemed to be talking at once and at a very high volume before walking off en masse towards the Buddha shrine. All except one middle aged woman.

It was a minute or so before she noticed it teetering near the edge of the back of the bench. She looked repulsed at first, screwing up her nose like a horrible stench had just wafted through. Then she was poking it with an outstretched finger, curiosity contorting her heavily made-up face, then expensive fingernails were pulling the rock towards her. Soon enough she was cradling it in the palm of her hand and staring down at the picture my mother-in-law had painted a day before, a picture of a Tim Burtonesque tree and the words ‘You Matter’.

The woman stared off into the crowd, locked in thought, then got her phone out and started typing, all the while holding the rock in the palm of her hand.

After a while she put the phone down, looked out at the crowd again, then down at the rock. That was when the tears started. They were streaming down her smiling cheeks as the crowd blocked her from view, and when the crowd had thinned she had gone, and so had the rock.

The concept behind the little rock art is for the finder to photograph the rock, then post it on the Facebook group it is associated with, in this case a group called ‘Cape Town Rocks’. After that, the finder can either keep the rock or relocate it to another place.

We spent the rest of that week and the next putting our little interactive rock art at all the tourist hotspots, and others too that maybe the tourists didn’t know about yet. Those places you go to on your delving days, the ones without other people, just raw nature and a few precious moments to take stock, with a view that can take your breath away, and a little painted rock perched on a boulder that may make all the difference Sometimes you have to look for art and sometimes, if you are lucky, it finds you. Improvised in the moment, a myriad of human responses are possible.

Photos by Joy Hichens

ANTHONY S. CAMERON is an Australian ex-pat living in Phuket, Thailand, and the author of two novels, Driftwood (2014) and Butterfly on Bangla (2015).

His books are available on Amazon here. You can find his sculptural furniture on Facebook here.