Verse Magazine Edition 44

Verse Magazine

VERSE

Edition 44 Free

Six By Four

Is This Body Even Mine?

Opinion Piece: Craft Beer

Wisteria Vine

Contents cover art Lucy Turczynowicz

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Editor’s Letter

Verse Spotify A Dedication to Summer’s End The Existential Dilemma of Being Aboriginal in an Occupied Country

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Hidden Affliction

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Six By Four

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Frozen Plums

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First Nations Artwork on Campus

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Wisteria Vine

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The Reaper

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What’s Mine Isn’t Yours

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Is This Body Even Mine?

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Interview with Steven Lapapis Fashion Sustainability Interview with Lok Interview with Sammy McCormack

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Opinion Piece: Craft Beer

The Verse Sub-Mag

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Patience

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Taking Care

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The Observer

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Golden Daze

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Your Sign as: Plants

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15 Days of Self Care

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2021 USASA Club Awards Night

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Your Crying

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President’s Letter

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A Lover’s Choke Hold

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IT WAS AND ALWAYS WILL BE ABORIGINAL LAND. Verse Magazine acknowledges the Kaurna, Boandik and Barngarla First Nations People as the traditional custodians of the unceded lands that are now home to the Univeristy of South Australia’s campuses in Adelaide, Mount Gambier and Whyalla. Verse Magazine respectfully acknowledges their Ancestors and Elders, past, present and emerging. Verse Magazine also acknowledge the Traditional Custodians and their Ancestors of the lands and waters across Australia.

Edition 44 | 2022

Editor’s Letter

Inside the 44th edition of Verse you’ll find the dichotomy between poetic nature and raw realism strung together by an array of emotionally wrenching, multi-layered pieces that explore all forms and themes, from undiluted love, quirky observation to woeful self-deprecation.

Surging heedlessly forth, let us stop, pause, disown and cast off our hesitancy into the shadows, and step onward with an impenetrable gravity. Let us cultivate a community that accommodates love, embraces unity and rejects the ideals and ideations that segregate us. Let us celebrate life and its joyous trivialities.

As we push past two years manipulated by fear and grief, we travel into a poetic catharsis. We now bear the question, as we collectively manoeuvre through the grooves and crevasses of our newfound normality: how shall we shape our infant normality in a way that it can be nurtured into something we look upon with a fond smile, and not a regretful, inverted one?

Something to ruminate, indeed.

I believe our purest forms of justice are all poetic in nature—and where goes poetry if not to paper? The pleasure of reading your texts and beholding your virtuosities is a privilege—place your submissions this year!

Being students of UniSA, we know you hunger for knowledge. A curiosity lives behind your eyes, and we urge you to reach forth and take that curiosity outside of its foam-cushioned boundaries. We encourage our cherished readership and dedicated contributors to be formidable in your accounts; be sharp, contoured and unapologetic in the skin that houses your spirit. Never silence your inner noise or mask your displeasure, because it is with the vibrations of our words that we accelerate change.

I send you the best of luck for 2022— this is your year.

Shania head editor Shania Parker comms & digital editor Matisse Chambers graphic designers Isabelle Raven & Kyle Feirclough design & production consultant Jackson Polley design & production consultant Rachael Sharman printer Newstyle Print

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photography & artwork Isabelle Raven

Verse Magazine

Hey, I’m Matisse Chambers (she/her) and I’m so excited to be joining the 2022 Verse Magazine team as the Communications & Digital Editor!

I’m a passionate creator, specifically drawn to digital/film photography, videography, website creation and graphic design.

I’m currently in the final year of my Bachelor’s in Communication and Media.

I can’t wait to apply the creative skills and processes, which I’ve learnt throughout my degree, to my position.

When I’m not drowning in uni assignments or editing images, I love spending my days by the beach paddle boarding or walking my 11-year-old golden retriever, hosting dinner parties with my friends, exploring new places for inspiration or dreaming up concepts for my next photoshoot.

I can’t wait to showcase the UniSA community through Verse magazine alongside my fellow talented team members!

Howdy! My name is Kyle Feirclough (he/him) and I am one of your Graphic Designers for the Verse team in 2022!

I have recently finished my Bachelor’s degree in Illustration and Animation, and I am about to undergo my Honours degree in Creative Arts with a focus in Animation for Games Design.

My passion for illustration and animation stems from my youth, the way it’s always been present in my life. It’s the form of storytelling that I enjoy most and understand naturally.

I’m a bit of a nerd when it comes to my everyday life. I find joy in the simple things, playing games on my Nintendo Switch in my spare time, and watching tv shows and films.

I can’t wait to see what’s in store for this year’s editions!

Hi, I’m Isabelle Raven (she/ they) and I’m stoked to be one of the two Graphic Designers for Verse 2022!

I’m in my final year of a Bachelor of Design (Communication Design) and loving it. I’m a multiskilled creative, with a keen interest in graphic design, specifically print media and typography, while also dabbling in illustration, photography and music.

If you don’t find me studying at a cafe with my laptop fan going full speed, I’m either snapping my friends on film, dreaming of the next time I’ll see my favourite band live in concert or starting another art project (most likely before I’ve finished the last).

I’m super keen to be working with such a dynamic team this year, and I can’t wait to see the works we get to feature from you creative folk!

MEET THE REST OF THE TEAM 5

Edition 44 | 2022

The Existential Dilemma of Being Aboriginal in an Occupied Country words Colin Herring

The ‘academy’ has imposed a definition of Indigenous identity on me. International definitions agree. Due to loss of heritage, I am not Indigenous; I cannot provide evidence of continuity. This post-colonial distinction is mentally disturbing. I resent the implications, it creates many questions for me. How can anyone be engaged in other people’s stories without understanding their own? There are two worlds of compliance: the academy and each community. My academic enquiries delve into the privacy of privileged information. Obligations and trust at the individual/community interface occur.

The Yolngu will meticulously record your arrival and presence through the practice of continuance and bark petitioning according to their law. It is pure genius.

The outsider practices an ethical ontology, axiology, epistemology and methodology transparently, morally, intellectually, spiritually and emotionally. The enterprise must be culturally competent. Any ‘shape shifting’ should be negotiated as a decolonising methodology. There is no such thing as open arbitrary permission to do anything you like. Protocols describe the parameters of enquiry as specific, affected by insider community standards and an outside inquisitor or authority.

Anyone who is ‘not from around here’ should approach as an outsider, whether of Indigenous descent or not. A process occurs: becoming known about, being known and then acceptance. We transform voluntarily to the world view of the community in question. A formal document is not really required as one politely knocks at the metaphoric door of a specific community.

A document is limited. An oral presentation includes body language, song and representation of soul/spirit. Giving a lift to an Elder and yarning has more credibility. An Indigenous researcher from a different cultural group may have a cultural advantage, but has similar issues of encounter and acceptance. However, academic conventions must be applied.

The credibility of individuals, community and an academy is at stake in a sea of competing interests and contested ideologies.

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The Indigenous experience realises many allies because they can all identify a common oppressor in an uncompromising patriarchy.

The ‘one world’ mindset of European thinking is defined as (post) ‘positivism’ through objectivity. Another Western theory accepts one reality within fixed periods of history. Another, ‘constructivism’ accepts multiple realities as social constructs. The outsider must move beyond the paradigms of individuation, toward a relational lattice; Indigenous perception is constructed out of local knowledge that interprets the entire cosmos as a sacred identity within.

Alternate research methodologies include talking circles, storytelling, personal narratives, Participatory Action Research (PAR), intuition and listening as the act of living the beliefs that make them real.

warming. This ‘contested cultural interface’ is Christianised, creolised and intervened, vacillating within historic epochs of sovereignty, subjection, continuity, discontinuity, learning and forgetting. The tensions and contradictions can be overwhelming, with Indigenous ventures being hijacked, managed under surveillance, re-legislated, dismantled and funding withdrawn. The Indigenous experience realises many allies (feminism, LGBTQIA+, disabled and environmentalism) because they can all identify a common oppressor in an uncompromising patriarchy. Indigenous peoples need to develop a critical reflection where Indigenous knowledge is examined through an exclusive Indigenous filter that accepts contrasting Indigenous epistemologies.

Theory alone does not create change.

Anthropology legitimised the colonisation of Australia. Outsiders are lured into critical sociology and post-structuralism for their criticism of grand theory; positivism and classical theories are colonising discourses.

Indigenous standpoint theory identifies the white male patriarchy as the target of post-modernist discourse and deconstruction in relation to power.

We require emancipatory dialogue featuring anti-colonial and patriarchal discourse and critique. Racism is deeply entrenched within policies, research debate and mainstream perceptions as the Foucauldian ideology of bio-power where one ‘race’ has power over another through massacres, surveillance, incarceration and social engineering. It becomes manifest through interventions, health, life expectancy, poverty and deaths in custody. In present day forms, entire communities (Iraq, Afghanistan Libya and Syria) are being massacred, while our leaders promote world order, described as a ‘runaway world’. If Indigenous peoples and feminists are to tackle colonialism and sites of oppressive power, a safe

Western environmental science is challenged by Indigenous knowledges.

In many circumstances, historic Western academic practice has preserved Indigenous cultures and remains of interest for any who would revive the threads of their (almost) lost culture.

A unique Indigenous voice is emerging and floating in a sea of global issues, evolution, neo-colonialism, neoliberalism, capitalism, bureaucracies and global

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Edition 44 | 2022

cultural space has to be developed which challenges without the fear of white, male ‘bio-power’.

an obligation to ‘sing’ our reality. As we attempt to escape mainstream scrutiny, we are deemed incapable and in constant crisis. The arrogance of being described as ‘the gaps’ from white norms determines our funding. This history of exploitation and manipulation represents a shift from passive victims toward a formidable front of multiple challenges.

The tensions and contradictions can be overwhelming, with Indigenous ventures being hijacked, managed under surveillance, re-legislated, dismantled and withdrawal of funding.

In the Maori research technique of ‘Kaupapa’, specific communities add their unique clan voice. ‘Kura Kaupapa Maori’ or alternative schools of all Maori mind-sets foster innovative research in their own language. This establishes a voice to previously silenced communities.

The non-indigenous can even engage in dialogue and be emancipated from their own indoctrinations through collaborative research. It does not escape the call for a (white) ‘one nation’ amongst mainstream commentators. They are yet to comprehend their status was achieved by centuries of oppression.

A psychological war continues as a fractured dialogue between those with power and the marginalised. An alternate global community insists on social justice over profit. In the wake of environmental disasters, Traditional Ecological Knowledge (TEK) is becoming a new frontier of research. Capitalists are realising there is a margin in it. Tea tree oil is a classic example. After the leaf is harvested, a fire stick tractor encourages the epicormics shoots of a lignotuber to stimulate growth.

Firestick farming is now an industry extracting liquid gold. No intellectual

The ‘tricky grounds’ and intersecting challenges of methodologies, ethics, institutions and communities influence those who have survived modernity and remain distinct with their own language and belief system. Between the definitions and self-identification, we still find ourselves within a dominating and alien culture. With ancient memories that inform our present practice, we find

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The Existential Dilemma of Being Aboriginal in an Occupied Country

property rights exist for the Indigenous who developed that practice. Qualitative research in the field of ethnobotany and talking to Indigenous experts is of great interest to the pharmaceutical industry.

The small Indigenous business can be compromised by the global ‘mall’ that can exploit a product. Indigenous products can be commodified and synthesized, while the Indigenous community disappears.

This period of globalisation has become another phase to survive, as imperialism transforms into a global monster. Our universities realise the market potential and new Indigenous identities emerge; an Indigenous ‘scientist’ is born as healer, herbalist and ecological practitioner. A transformative research ethic is required to address the vulnerability of Indigenous knowledges through informed consent.

Legal precedents have incorporated oral tradition as law; flora and fauna can be recognised as sentient. As the process translates into the domain of legal and academic classifications systems, difference is legitimised.

A dual system of communication is required; one to satisfy an outside provider of an insider’s depth of comprehension.

What was previously viewed as barriers can become doorways of relating solutions, as the four winds of change and walking together. This algorithm presented as a ‘medicine wheel’, confirms all is interconnected and ‘related, spiritual, complex and powerful’. The elemental winds are represented as the four points of a compass (decolonises) and are replaced (education) with a reality (healing) that is ever-present (being). An Indigenous renaissance is advocated amidst laughter and a healing ceremony.

One cannot simply transcribe an ethics guideline from one community to the next as a generic template. The context of the Indigenous community layers unique relationships, affecting the community over time. If meaningful dialogue occurs, quality experience is taking place. The new, old paradigm continues debate, and working groups present stories, perspectives and reflections through poetry, passion, academia, painful experience and common vision. Through Native American eyes, meetings become transcendental rather than stored in temples of printed information. We learn by osmosis of a ‘fourth world’ and an Indigenous framework speaks of ancestral characters and essences as legitimate conversations.

After centuries of oppression, we must wade through the emotions of anger and fear, where many falter as moods of the seasons, when the problematic Western door can trigger resistance to the falsities generated. The Navajo and Hawaiian Natives know this leads to annihilation.

Sharing these stories within their own cultural context sets up another door of emancipation through surviving and dismantling colonialism... To be continued.

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Edition 44 | 2022

Hidden Affliction words & artwork Natalie Bellardino

Hidden Affliction illustrates the internal battle of inhibiting anxiety through gathered symbolism, contradiction and surrealist imagery. Although, this oil-on-canvas, hyper-realistic painting emotionally narrates an interpretation of my anxiety. The purpose, however, intends to form a conceptual story, allowing audiences (mainly sufferers of anxiety of various ages) to connect, interpret and visualise my tangled character uniquely. ​​​​​​​ Uncovering double meanings as an extensive motif inside these applications heavily inspired the symbolism of every element shown within Hidden Affliction.

Background pigments symbolising gentleness, mystery and tranquillity within dreams excited the idea of proposing contradicting elements within my final. In revealing a confronting image, the recessed hues intent is to contradict their meaning of relaxation as they surround the discomforting aesthetic. Against this, the blushed skin reflects the rising warmth, while the contrasting blue symbolises the coldness felt during an attack.

The tightly wrapped bedsheet heavily contradicts its purpose of leisure and comfort to personify the strangling and suffocating emotions and the physical and mental immobilisation anxiety forces.

The contrast of crisp shadowing and stark tints link my original inspiration “the shadow of the mind”, while exaggerating the choking of the sheet.

Becoming a veiled, internal battle, the restrictive, masked sheet embodies the shame, disgust and embarrassment, while mysteriously and indirectly compelling the viewer to study the pivoted, pyramidally composed, nude model further. Interpreting my stripped vulnerability, the naked muse conceptualises myself.

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Edition 44 | 2022

Six by Four words Jordan White

photography Bethia Holton

Flowers exist only in vases because we want them to.

Half an hour and I’ll soften ‘round the edges, Half a night and the sky ripples.

Your skin is soft in my hands, Like freshly woven silk, Loving slowly, carefully, please tell me you want me.

Can’t you see this is what we were made for?

I fit in your arms like something broken and small, Only ever a delicate flower, fucked up and vulnerable.

Your cigarette lingers from the ashtray, The curtains flow, The prosecco bubbles in my skull like a ping pong ball, Off the dining table.

You whisper and my neurons spiral, Suddenly our constellations are limitless.

Morning comes and I can smell the flowers, Your essence in the sheets, The orange-scented follicles of your hair.

Your body comes to me slowly, like a river to its bank.

Call my name until it flows through me, Because in these moments, We’re the river and the ping pong ball and, The bedsheets.

Isn’t this what spring nights are made for?

Morning comes and I cook us half an egg each.

Morning comes and the flowers wilt slightly, Though I still notice the silhouette of your body, The red of your lips, How the slow-burning of this fleeting youth is fast approaching, How everything is approaching.

But in this moment, You Are here.

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Edition 44 | 2022

The ‘Mango Man’ comes to the desert town at the end of each month, where he travels in a dusty ute for twelve and a half hours. The tray carries a jumble of weathered wooden planks, a green swag and an icebox the size of a fridge; all pinioned down by two frayed ropes and one new ratchet strap. He comes in the night, and by morning, the heap of wood and rope assemble a humble market stall. Vibrant and exotic fruits are painted on the stall’s sides; the bright pigments illustrate the cold treasures that lay inside the icebox.

While he stands in his stall, the Mango Man will pull a frosted bottle from his esky.

Nobody knows what this drink contains, a potion or a magical brew perhaps? One can only imagine that it’s as marvellous as the fruits beside it.

This is the day they get excited for, the community springs to life. They’re like ants, clustering to a melting icy pole. The promise of sugar and its fresh succulent smell gets them out of their cool dens and into the blazing heat. In fact, they enjoy the scorching sun on their brown backs as they trudge to the Mango Man, it makes their reward so much more gratifying.

words Xenia Hackett illustration Isabelle Raven

Frozen Plums 14

Verse Magazine

He comes from the north, his ice box full of tropical gems—unseen on their arid and barren sandscape—brimming with fruits belonging to faraway lands, where the colour green is familiar. Gia once found a broad, bright, green leaf still stuck to the stem of her orange... her little sister Natika was jealous of her finding. The two fought for hours over who would keep the green-leafed fruit. At school, the day after a delivery, the class would show and tell their treats. One lucky boy found a star-shaped fig leaf; the children were bewildered.

icebox. Her bare feet made no sound as she walked to the treasure chest, she lifted the lid gently. It released with a pop, a cooling mist spilling out wrapped around her face, her legs and toes. There they were, frosty and glistening like jewels. Five frozen plums. Gia reached in and pulled one out. She sat beside the icebox on the floor and let the concrete cool her sweaty legs. It was going to be a particularly sweltering day. She bit into the already melting fruit, the dripping frost warming, as it ran down her forearm until she couldn’t tell it from her own dampness.

It was so sweet and so cool, the pink stained liquid dripped down the sides of her mouth. Before she knew it, she was reaching for another—one simply hadn’t been enough to quench her. The air was getting hotter as the sun rose, and Gia got greedier. Another and another. She couldn’t tell when she had finished one and started the next.

Each month he brings an array of mangoes with him, ‘the sweetest on the continent’ is written in chalk on the little blackboard placed by his side. He also brings with him a few new fruits, as a treat. This month’s specimen… Plums.

Gia couldn’t help it. That morning, it was hot, the hottest yet. She woke up, not from the rising sun, or the sound of her mother shuffling into the kitchen, but from her own sweating skin. It was too warm to remain in bed any longer. Her bedsheet was glued to her back and wrapped into a knot at her feet. She woke up knowing exactly what she wanted, no doubt about it, her mouth was already watering at the thought, in fact, she’d probably been dreaming about them all night. Frozen plums.

When she reached her hand in to search for another, there were none left. Gia, filled with panic, hastily jumping up; her eyes guiltily fixed on the door. She knew she was in trouble. There was a whole month—basically a lifetime—before the next delivery.

‘Look at me, as greedy as the flies are for sugar,’ she thought. Gia ran to the table and grabbed a piece of paper—she didn’t know what else to do. Was it too late for her to catch the Mango Man…? She did not want to be there, sticky, purple-handed and guilty when her family awoke. Gia scurried to grab her shoes in a quiet but desperate manner, and headed for the door in a heated rush…

Gia peeled herself from her sheets and put on her favourite singlet, worn to the perfect lightness for the summer days.

She slipped into the kitchen quietly, walking with hope that she was the first awake.

She knew Natika shared her weakness for sweets. Alas, the dusty kitchen was empty and in front of her lay their freshly stocked

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Edition 44 | 2022

First Nations Artwork on Campus Since 1991, the University of South Australia has commissioned and acquired site specific works of art for campus display. There are around 50 artworks on display on the campuses of the University of South Australia.

Amongst these creations are works by First Nations artists Yvonne Koolmatrie, APY Collective, Vernon Ah Kee and Darren Siwes. These works have been purchased through the Aboriginal Leadership and Strategy Reconciliation Action Plan.

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Verse Magazine

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Darren Siwes, Gold Puella and Gold Homo Hominus, from the series Oz Omnium Rex Et Regina, 2009

from traditional forms, such as traps and baskets, to the far from traditional, including a hot-air balloon and a biplane.

Koolmatrie says, ‘When I am weaving, I feel no pain. For me the weaving is meditation.’

These photographs by South Australian artist, Darren Siwes, puts forward First Nations heads of state for so-called Australia. Siwes’s series Oz Omnium Rex Et Regina draws on the symbol of the coin to signify financial and cultural exchange and the enduring power of representation.

The artist wittily demonstrates the way class delineations, and our hierarchical systems can mean the difference between a mug shot or a head of state.

In 1997, Koolmatrie became one of the select few artists to have represented Australia at the Venice Biennale, the world’s most prestigious international art event.

In this exhibition, Koolmatrie showcased her work alongside that of Emily Kame Kngwarreye and Judy Watson.

Location: Jeffrey Smart Building entrance foyer, UniSA, City West Campus.

Darren Siwes is a Ngalkban man, living and working on Kaurna Yerta. His photographic art practice resides somewhere between truth and the hypothetical, addressing issues of class, culture, place and identity.

Siwes is an alumnus of the University of South Australia, completing a Bachelor of Visual Arts (Honors) in 1996. In 2002, he received a Samstag Scholarship and studied at the Chelsea School of Art, London, where he completed a Master of Fine Art. Siwes’s work is held in major collections, both nationally and abroad, including the Art Gallery of South Australia, Adelaide; the National Gallery of Australia, Canberra; and the Reina Sofia Madrid, Spain.

3 APY Collective, Seven Sisters, 2018 Seven Sisters depicts a part of country where the Seven Sisters Tjukurpa and the Pitardi Tjukurpa meet, west of Amata Community.

The creation of the work was led by senior artists Wawiriya Burton, Mona Mitakiki, Sylvia Ken, and Tjungkara Ken and emerging artist Sharon Adamson, joined by Sandra Ken, Nyurpaya Kaika Burton, Wanatura Lewis, Sally Scales, Tjimpayie Prestley, Kathy Maringka, Gladys Roberts, Rita Rolley, Celine Tunkin, Madeline Curley (Kaltjiti Arts), Emily Paddy, Nyanyu Watson, Jennifer Mungee, Joyleen.

Location: Wirringka Student Services, Mawson Lakes Campus.

2 Yvonne Koolmatrie, Eel traps, 2009

Location: Bradley Forum foyer, Level 5, Hawke Building, UniSA, City West Campus.

These woven-sedge eel traps—narrow at one end, curving and broadening to an inviting opening at the other––are typical of the work that has brought Yvonne Koolmatrie national and international recognition. Yvonne Koolmatrie is of the Ngarrindjeri people of the Coorong and River Murray region of South Australia, and has worked to revive and maintain her people’s fibre-weaving traditions. She creates fine sculptural works that range

words Samstag Museum of Art Team

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words Shania Parker

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THE VERSE

MAG SUB

THE HEART OF EACH EDITION HOLDS PLACE FOR DEDICATED CONTENT SURROUNDING MENTAL HEALTH, STYLE, TABOO AND THE ENVIRONMENT. TRIGGER WARNING

The following section contains content some may find disturbing or upsetting.

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Edition 44 | 2022

HOW I AM TAKING CARE OF MYSELF TODAY words Shania Parker

If you can’t clean your mind, Begin with the corner pieces— Clean your wardrobe, your garden beds or reinvent an encumbered space in your head.

If today you can’t be kind to yourself, Be kind to a strangely irritable neighbour, a stray cat on the footpath or the lady who looks as sad as you feel.

If you can’t give yourself a break, Then give one to the screen that slurps away at your energies, the assignment on your desk, and the worry in your chest.

If you can’t immerse yourself in something good, Then take a bath and pour razzle red pigment, a spiced cherry bubble mix and ointment for your soul.

Let the foam cleanse you and the water soak you in glitter.

Sit outside, Breathe the clean summer, Paint poetry with your mind, And if you still can’t love yourself, Let someone else do it for you today— Call your favourite person, Talk about the weather or the flowers you forget to water, Talk about the pain if it relieves you of your chaos.

But don’t sit, Don’t do nothing When you are so formidable in all your fierce fragility.

With so many instruments at your alter, You choose which devices to fight with, And which ones you disregard, But my love— Don’t do nothing.

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Mental Health

illustration Isabelle Raven

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GOLDEN DAZE

IT’S APRIL 2020. UNI IS ONLINE, THE WORLD JUST SHUT DOWN AND YOU’RE STUCK WONDERING WHAT THE F*CK IS HAPPENING TO YOUR SO-CALLED GOLDEN DAYS. IT ALL SEEMS IMPOSSIBLE. YOU NEVER THOUGHT YOU’D BE LIVING THROUGH A GLOBAL PANDEMIC IN THE PRIME OF YOUR LIFE. BUT YOU NAIVELY THINK… “SURELY THIS WILL BE OVER BY THE END OF THE YEAR. WE’LL BUY OUR PASSPORTS AND WE’LL DEFINITELY MAKE IT TO NEW ZEALAND BY JAN ’21.

THEY’RE JUST ACROSS THE WATER. WE DON’T EVEN HAVE THAT MANY CASES.” FAST FORWARD. IT’S TWO YEARS DOWN THE LINE. UNI IS STILL MOSTLY ONLINE, THE WORLD IS STILL PARTLY HALTED AND TIME IS BLOODY FLEETING. THESE YEARS, WE’LL NEVER GET BACK. OUR EARLY TWENTIES, ARE NOT POCKETABLE.

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Mental Health

words Isabelle Raven

BUT WHAT IS IT WE’RE TRYING TO ‘GET BACK’? YES, THE DAYS OF LARGE CROWDS, BREATHING EASY AND SPONTANEOUS TRAVEL ARE A THING OF THE PAST FOR THE FORESEEABLE FUTURE. BUT WE’VE LEARNT THAT SELF-CARE IS NOT SELFISH, THAT SEEING FAMILY VIA VIDEO IS BETTER THAN NOT SEEING THEM AT ALL, THAT SCIENCE AND MODERN MEDICINE ARE TRULY INCREDIBLE AND THAT WE NEED TO GIVE OURSELVES MORE CREDIT FOR OUR ADAPTABILITY AND ALSO LEARNT THAT WFH CAN SUCK, BUT WE’RE THANKFUL IT’S AN OPTION. RESILIENCE. WE’VE THESE YEARS HAVE BEEN HAZY, HARD AND AT TIMES, HORRIFIC. BUT, THESE YEARS HAVE ALSO BEEN MEMORABLE. WE’LL NEVER LIVE OUR TWENTIES THE WAY WE THOUGHT WE WOULD. OUR GOLDEN DAYS ARE A GOLDEN DAZE, BUT WE’LL ENTER THE NEXT CHAPTER STRONGER AND MORE REMARKABLE THAN EVER. 23

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15 Days of Self Care Challenge Day 1

Day 6

Set goals What is it you want to accomplish? Reflect, brainstorm and write down what you want to achieve in the coming days.

Feed your soul Are you eating healthy, or do you deserve to treat yourself to something special?

Either or, make yourself feel happy with your choice.

Day 2

Day 7

Drink some water Today, keep yourself hydrated, that is one of the simplest and most important things to do. Keep track of and make sure you get your recommended amount of water.

Clean your room I know it doesn’t sound like fun, but trust me when I say it: you will feel so good after you tidy up all those dirty clothes off your floor.

Day 3

Day 8

Embrace you Turn off those intrusive thoughts, get out of your head and be yourself. The people around you want you to feel safe and free.

Do something that’s made you feel insecure before, until it isn’t as frightening as it first seemed.

Buy a new book Whether it be a novel, a comic book or even an encyclopaedia, reading is a great way to relax and detox from technology—maybe even make yourself a cup of that delicious chamomile tea.

Day 4

Day 9

Day 5

Day 10

Take a hike Turn off your phone, isolate yourself from technology and explore the real world—the one that matters.

Slow down Don’t rush! the fast-paced city life is not for everyone. Slow down and take your time.

Treat yourself to a date Has there been somewhere you’ve been dying to go but are struggling to find people to join? Don’t hesitate, take yourself on a date and don’t wait any longer for a companion.

Express Creativity You may not be the best artist, but it is always good to express some creativity, whether it’s writing poems or drawing stick figures, find your creativity and express it.

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Mental Health

Day 11

Conversation Today, you should have that conversation you’re afraid of having, or tackle a certain topic internally, or maybe you just need to talk to someone and practice vulnerability.

Day 12

Embarrass yourself This may be hard for you, but the more you embarrass yourself, the more comfortable you’ll feel in your skin. Go out in public and do something silly.

Day 13

Try something new Listen to a podcast, play a new game or go somewhere you’ve never thought to visit before.

Day 14

Reward yourself You’ve made it two weeks into the challenge, and you deserve a reward. What are you going to treat yourself with today?

Is it going to be something new? Maybe you’ll take yourself out on a date again… or maybe your room needs another clean.

Day 15

Mindfulness Find a quiet, secluded space and simply meditate; and reflect on your past two weeks. How did it make you feel?

words Kyle Feirclough

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Your Crying words Eliza Dunn illustration Chelsie Morey

You cry heavy sobs that are soft and silky They float around me and I tenderly tell them But your words are sharp and bitter They bite down onto my ears and I tell them Your cries don’t bite, they speak They ask for comfort and care and I tell them But your words are cruel and complete Empathy please beware

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It’s ok.

Let go.

It’s ok.

–Let go.

Mental Health

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An Object From A Windows View Standing tall, a strong and well-structured wisteria vine commands my attention from the window seat within. The wind howls, as forms of mother nature bend and move rhythmically to the outdoor tune. Lashings of rain attack the ground—creating an array of puddles, as the streams of flowing water fill the gaping cracks which surround the wisteria vine.

words Melissa Raymond photography Matisse Chambers

“Martha! Where are you?” I bellow from my window, searching the ground.

“Out in the garden, dear!”

“You have been here for hours!”

She turns her head upward to speak. “Mrs Schilling has given me a cutting from her wisteria vine. The one that covers her front porch with glorious shade during summer.

She knows I love to admire the flowers every spring.”

It’s winter and the arctic blasts are viewed best from my window seat within. It’s peaceful, a place where my thoughts are simple—no ambition takes hold, just observation and withdrawal, as so many have done years before. I often think of Martha, the lady who lived here over a century ago, and was remembered for the peaceful hours she spent in the garden.

“Mrs Schilling’s vine is well over 50 years old, Martha; you’ll be doing well if you live that long.”

“Well today is a special day, in the year of 1900. I have lived enough to know another will enjoy this wisteria vine in all her glory.”

28th of July 2021, I sit to view the magnificent wisteria vine, surrounded by the comforts of a cozy, log fire and a soul-warming cup of tea. Each sip allows another moment to ponder at the glorious view from my window seat within. The warmth is my friend, I think to myself, as I unwind into pleasant thoughts of the life the wisteria vine has led. Heavy eyes and soft cushions beneath allow a moments rest as I fall into a sleep….

Suddenly with a swift jolt, my heads lifts.

My eyes glazed, I gather my thoughts and wake from a daytime dream. How odd that was, I think to myself. I felt a presence beside me, as though Martha was just… I look around and note, it is just me, alone.

The wisteria vine governs the vast expanse of the garden in all her strength. She does not move as the wind howls, invigorating small trees and shrubs that surround. The wisdom it holds, spiritual, with a thick, gnarly, wooden skin—twisted and leaning as though an old wise lady is within.

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by Ethan Harris

The Reaper

comic Ethan Harris

Environment

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comic Ethan Harris

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illustration Chelsie Morey photography Chloe Morgan

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Her Lament She screams into an abyss of compromising invaders She screams upon her hedonistic children Her eruption is of a future and foreboding acrimony Where patience and serendipity do not align Where voice and parade are barely adequate Where a white-collar is bloodshot red Where action is sleeping—but not dead.

Where the earths tongue is severed by man When a call shrieked out of helplessness is As derelict and as livid as she is Our call will be idle The canals will have closed The shriek wont travel far But the reverberation of her end will scream through To the heavenly body It will be a bellowing silence And a heedless walk through a crooked disaster Our footprints—greener but not greater—covering hers.

words Shania Parker illustration Kyle Feirclough

words Shania Parker artwork Kaitlyn Davison

Taboo

What’s Mine Is Not Yours

The notion of succumbing, Held in my throat like a double-edged razor blade.

It was mine— Albeit, the enquiring never transpired.

Consent is a necessity not discretionary, The way a child heaves their hands Into jars they know they don’t belong in.

Or the way the moon steals the day, And the shore steals the land— These things never belong to us, This is natural man.

Intangible— It was never an entity meant for pocketing, But a means of trade, temptation and exhibition.

“Close your legs”— Thrusting them apart.

“Mute your vote”— Scream upon order.

“Shut your lips”— Tongue inside my walls.

“Loosen your feathers”— I am already dishevelled.

“Relax”—

I am sprawled beyond mobility.

They tell me I am mine, But take With no invitation.

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IS MY BODY

CENSORED

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EVEN MINE? CONSTANTLY BEING CRITICISED FOR NOT ADHERING TO THE TOXIC & UNATTAINABLE BEAUTY STANDARDS OF THE CAPITALISTIC SOCIETY WE RESIDE IN. LEGISLATIONS CONCERNING MY REPRODUCTIVE RIGHTS BEING MADE BY THOSE WHO WILL NEVER BE AFFECTED BY THEM. MY BARE CHEST DEEMED ‘OFFENSIVE’ AND MY BODY INNATELY ‘SEXUAL’.

HOW CAN I FEEL LIKE I’M LIVING MY OWN LIFE & MAKING MY OWN DECISIONS WHEN I’VE BEEN TRAPPED BY THE FOUR WALLS OF A BOX, BUILT BY THE PEOPLE PROFITING OFF THE INSECURITIES THEY HAVE INGRAINED IN MY BRAIN? MAKE. IT. MAKE. SENSE.

At times, it felt like I was living a life so heavily navigated by oppressive societal constructs that my own vision and consciousness felt cancelled when confronted with decisions, as if they were meant to conform to a script of sorts. My own thoughts were polluted by harsh self-criticising ruminations to distinguish if I actually believed them, myself or if it was society coercing me into a marred, distorted mind frame.

That’s how we’ve been taught: boys will be boys but not girls will be girls. We have been explained, pressed and pushed into the belief that there are only two roles and you need to act accordingly to just one. We have been taught that the life we see on social media is the standard we must reach… and if we don’t?

How can we break these habits that have travelled with us since the day someone told us we needed to change the one thing about us that we couldn’t change? words & illustration Isabelle Raven

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How student Steven Lipapis found his true passion within UniSA Creative

Royston Park café is located on the corner of Battams Road and Sixth Avenue. You’ll find a bright, red coffee machine right as you enter and regular customer, Steven Lipapis enjoying his favourite meal on the menu, the baked eggs.

Lipapis lives a short ten-minute walk away, and like many of the residents, he’s lived in the area his entire life. His parents bought their family home when Lipapis was born, 22 years ago. He shares a tight bond with not only his parents and older sister, but their neighbours as well. “Close?

We’re all in each other’s back pockets…I bought my first car from our neighbours across the road, and Bev and Pete who live next door come over Sunday mornings for coffee, we are very lucky in that sense.”

A few streets down the road, you can catch part of the linear park trail alongside the River Torrens, where Lipapis spent many days as a kid feeding the ducks, playing in the puddles, and running up and down the steps “I could only imagine how many times I ran up and down those steps, it’s one of my favourite memories from this area”. A bit less local, 160 km northwest of Adelaide lies Wallaroo, an annual destination for the Lipapis family, keeping up the 30-year-old tradition. However, without the migration of his Greek grandparents, Steven wouldn’t have these fond memories and traditions.

“My parents have always said to both my sister and I, follow what our passion is, because they, sort of, didn’t get that chance”. Having been raised with this encouragement, Lipapis knew he wouldn’t settle for anything less than his true passion.

His search for his dream career begun during his early days at Adelaide High School, where he contemplated being a plastic surgeon, specialising in skin graphing of burn patients. This quickly changed as soon as he realised biology and mathematics were a prerequisite to pursue such a career. He then went on to complete a week’s worth of work experience in year nine, which for

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Lipapis’ advice comes from experience, seeking an internship toward the end of his third year at Steve Burges Design.

He started off working one day a week and then, with his stomach in knots and sweaty palms, asked his boss if he’d be willing to take him on as a casual employee.

Without a reason to say no, you’ll now find Lipapis at their Kent Town office two days a week, working as a drafter. He has even been able to bring in his own sourced clients to the business and is gaining skills in a real-world environment.

When Lipapis reflects on his journey so far, the thing that sticks out the most, from the long hours spent in concrete walls of the Kaurna building, is his classmates.

“It’s definitely the people, we have such a fun and cool dynamic and we all genuinely want to help each other out.”

many is taken as a bludge from school.

For Lipapis, however, it was the defining moment of discovering his true passion.

“I organised to work for an architecture firm that did an extension at Adelaide High and then from that week it really solidified that yes, this is what I want to do”.

It was no surprise that Lipapis found his passion within a creative field, developing his artistic flare from his father—business owner and hairdresser. Another thing his parents gave him, a strong work ethic.

“After that work experience in year nine, it gave me motivation to work really hard; get the ATAR I needed for admission into the course. I wanted to do the right things and give myself the best chance”.

And that’s exactly what he did.

Apart from UniSA’s City West campus, Lipapis also has a presence on Instagram, where he has created his own architectural portfolio through the name @steventhomas.arch. It showcases his own drawings, models, inspiration, photography, and love for historical, period, and residential architecture within a monochrome theme, which Lipapis claims is “very him”.

he wouldn’t settle for anything less than his true passion.

In 2022, Lipapis will be completing his final year in his masters of architecture. He’s excited to begin his career within the field, and use the skills and knowledge gained through UniSA to excel and create within Adelaide as a future architect. You’ll find Lipapis around UniSA’s City West campus “taking opportunities, learning from them and thriving in them”.

Having graduated from his three-yearlong bachelor’s degree in architecture at the University of South Australia, Lipapis is only 6 months shy of completing the rigorous mater’s qualification. Yet, still after that, it will take him another eight years to fulfil his dream of becoming a registered architect. “During first year, a lot of people psych you out, saying there’s no jobs and that it’s such a hard degree, but you have to be really proactive and after third year, I highly recommend going out and doing work experience, use your connections, and if you put yourself out there, then you’re giving yourself the absolute best chance to succeed”.

Find Steven Lipapis on Instagram: @steventhomas.arch

interviewer & photography Matisse Chambers interviewee Steven Lapapis

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How to slow down your fashion - FAST!

words Matisse Chambers illustrations Isabelle Raven

It’s no surprise that sustainable fashion and living has been adopted by many across the world to limit environmental effects and ensure fair wages and working conditions of employees. However, it’s hard to know where to start with what seems like an overwhelming number of choices and resources. Never fear, this guide will give you an insight into how to kickstart your sustainable journey from where to recycle your unwanted clothes, what brands to shop from and what resources to refer to.

Prelove

Who’s Margi?

One easy way to get rid of unwanted clothes, while making back some money is through a rent-a-rack stall. A notable business offering this service is ‘Prelove’, sustainable fashion. They have stores in both Hove/Brighton and Westfield Westlakes, with four different options to help sell your clothes or luxury goods.

Weekly rental prices start from $89 along with 10% commission from each sale.

You can also grab some friends and split the overall cost to make it more affordable.

Some perks of Prelove is that you don’t have to be there to sell your clothes like regular market stalls, you can track online how your clothes are selling and top your rack up accordingly, and the store locations are already situated around other retailers, so there is plenty of foot traffic. Just having wrapped up my own stall with three other friends, we made around $950 in total.

So, it’s time to spring clean your wardrobe and make back some cash for not much work at all.

The next time you get the girls together for a cocktail night and are in need of some funky glassware, look no further than ‘Who’s Margi’. It’s a small Adelaide business founded by Kasey Shephard, initially started while browsing her favourite op shops and vintage stores.

She now sources and upcycles them regularly, showing customers how someone else’s junk can be another’s treasure. The name came to her one night at a farewell drinks party when she asked her friends if any of them wanted a margi. One responded, ‘who’s margi?’— clearly not knowing she meant margarita.

It all clicked then, and Kasey had found the perfect name, ‘Who’s Margi’.

Styles range from retro bubble coupes, vintage whiskey tumblers and classic crystal margarita glasses all with stunning detailing. Now you can sip on your cocktail feeling almost guilt free; and knowing that not only is your glassware sustainable, but you’re also supporting a small and local business at the same time!

Instagram | @prelove.westlakes @prelove.hove

Perfect for a gift or for yourself—

Website

you can purchase through

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https://prelove.com.au/

her Instagram: @whos_margi or at The Little Boutique on Jetty Street, Grange.

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Shift Style

With social media constantly bombarding us with information, it’s hard sometimes to find the right, reliable resources to help us on our sustainable journey.

This is before you knew ‘Shift Style’ existed. Founder, Ashley Stallard created Shift Style, ‘a hub for living lightly’ as she describes, to enlighten others on slow, ethical, fair fashion; low waste; clean beauty; home; lifestyle; DIY and even travel style. Stallard is the community and relations manager for ‘The Finders Keepers’, Australia’s leading design market—so you could say she knows a thing or two about sustainable fashion.

Her blog posts stem from how to responsibly recycle old clothes, 20 ways to go plastic free, why what toilet paper you use actually matters, and my personal favourite: how your pet can go plastic free. So, the next time you’re unsure on how to make a sustainable choice, ‘Shift Style’ has got you covered.

Instagram | @shift_style @ash_stall Website

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www.shiftstyle.net

VEJA Shoes There’s no doubt that a classic white sneaker has become a staple piece in everyone’s wardrobe. Versatile, comfy and can take you from day to night. This wardrobe staple can easily be sustainable if you choose the right brand. VEJA footwear and accessories offer completely sustainable shoes without compromising the look or comfort. I first heard of VEJA in 2019, when my sister returned from a university study tour in Paris, where apparently almost every French student was wearing a pair. They are a French brand after all, so it’s no surprise that those students were ahead of the times.

VEJA offer over 10 styles and a dedicated Vegan and sports range. They also provide a significant amount of transparency about their brand on their website by sharing

Some notable facts taken from their website that you should know: • 4 out of the 5 highest earners in the company are women.

• Their offices and stores are run on 100% renewable energy.

• The leather used to produce sneakers comes from farms in Southern Brazil, opposed to sourcing from areas suffering deforestation.

• Instead of spending money on advertising, they use the money to source sustainable materials.

• VEJA can be found in Adelaide retailers such as David Jones, HypeDC, Platypus, General pants and online.

Instagram | @veja

various contracts, their certification by B Corp,

Website

code of conduct and organic labelling certificates. They also share extensive research into their CO2 emissions and carbon footprint as a global brand.

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www.veja-store.com

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LOK.

Does your art represent something about you?

In every way. The reason I call myself LOK. is due to the Chinese sentiment, it translates as honesty and promise—my craft is based on the premise of integrity. I promise to say the truth, I think that’s at the core of art, truthfulness. The key ingredient: figure out what’s important to you; and being truthful is inspired within that. My art is comparable to a documentary, it’s a collation of my journey and thoughts. Sometimes, when I create statement artwork, I create smaller pieces too, and those fragments embolden my appreciations for the little things.

What’s your artistic process?

It all varies, you can get ideas everywhere, at any time, your surroundings are your inspirations. I find that engaging with new and eccentric people is an effective stimulus. When creating conversations, making observations and witnessing social movements, ideas spring erratically and fruitfully. There are many different aspects, but when it arrives, it’s the best of feelings. Akin to an orgasm—It’s amazing when it cums.

How does your work comment on current social or political issues?

Art is a form of response. And my response, here, relates to Hong Kong, which is my hometown. I have found it very hard to see my home collapse from afar, and my only method of coping is through creation. The thought of my home crumbling makes that creation hard at times. Although, my art is like a string connected to my homeland, it helps me feel closer—like I can physically be in Hong Kong—and through that I walk down many roads of inspiration. Nonetheless, one thing I find challenging is that I have very limited information and sources to create something that’s going to stimulate discussion. We, as artist, want to be seen and we want to be heard. In terms of political, I may not have a significant impact, but as long as I create something, I create a space for discussion—not necessarily speaking of Hong Kong, but other countries that are gravely suffering. I want to build a space where people can mourn their homes and be aware of world affairs through a truthful lens.

What does your work aim to say?

When you have a voice, use it.

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LOK.

interviewer Shania Parker artist LOK.

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Sammy McCormack – The founder behind ‘Why Clothing’

interviewer Matisse Chambers interviewee Sammy McCormack

Sammy McCormack started his brand, ‘Why Clothing’ at as young as 13 to help escape the pressures of high school. Now, at age 22, he’s got nine years of experience in the industry, reached over 1.6 million people on TikTok and is growing his brand on an international scale. ‘Why Clothing’ is more than just a brand, it encourages its wearers to have self-belief and ask questions, while instilling confidence through the garments.

A multipurpose creative, McCormack, graduated from UniSA in 2021, earning himself a Bachelor of Architectural Studies, while signing to Finesse Models Australia in the same year. He gives us an insight into how his brand all started, the biggest challenges he’s faced and how his university degree has helped him along the way.

How did your love for clothing and fashion start?

I first found a passion for clothing and business when learning the process of screen-printing at the age of 13. Self-taught through YouTube videos and with the support of my family, I started creating designs for t-shirts that I would sell to my friends and family. What started as a creative outlet to help me deal with the pressures of high school, soon turned into a small business, where I would sell to locals at clothing markets, through social media and online to people all over Australia. On top of my first business, I would also come up with designs and create t-shirts and hoodies for local businesses, sports teams and school events. This really improved my ability to communicate and work with others to give them the best product possible. It also allowed me to get better at my craft and continue to improve my screen-printing and design skills.

How did you come up with and settle on the name ‘Why Clothing’ and does the brand hold a deeper meaning?

I started my brand Why Clothing in December 2018—a year after finishing high school and while studying at university. The brand was a great creative outlet for me, as I love designing products and seeing people get great satisfaction out of owning/wearing them. I believe one of the most important things that everyone needs is to feel good, to have self-belief and to ask questions—to be the best you can be!

This is something very important to me and is what Why Clothing is all about; and spreading a positive message and hopefully inspiring a few people along the way.

How would you describe the style of Why Clothing?

A mix of streetwear and high-fashion— with a positive message behind it.

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Who are your biggest inspirations in the industry, and do you have any dream collaborations for the future?

While we learnt about a lot of great artists at university, some of my biggest influences and inspirations come from all different creative fields. Some of my biggest influences come from music and film, along with fashion, of course. Virgil Abloh would have to be one of my biggest inspirations, especially when it comes to fashion. The way he has bridged the gap between the streetwear and high-fashion worlds is very interesting to me, something I do my best to emulate through my own work. Another big influence on me is Kanye West. In my book, he’s a creative genius. Similar to Virgil, he bridges the gap between various creative fields and does it very well! Music, Fashion, Architecture and Design—I have a real interest in all of these fields and have great admiration for those who don’t settle and just “stay in their lane”. If I could collaborate with anyone, it would be Ye.

I have been spending much of my time on TikTok and Instagram, working to grow my audience and share my vision with others.

TikTok especially has been really amazing, there are so many talented creators on the app that I come across every day. And being a part of that community and making videos that entertain and inspire people really brings me a lot of joy. I have been very fortunate to have reached millions of people all over the world through my videos on TikTok. Having over 110k followers and 1.6 million likes across all my videos is so crazy to me and something I am incredibly grateful for.

Does Why Clothing have a sustainability mission?

Yes! I believe it’s really important to create pieces of clothing that you’ll have forever and not just something you’ll wear a few times, then have it fall apart in the wash.

This is probably something I learnt through university—to create products that will stand the test of time!

Which part is your favourite in the creative process, designing the pieces, printing, or bringing them to life with a photoshoot and styling?

I love the creative process. There is a lot of work that goes into creating new collections; people are used to seeing the results, but never what goes in to make that happen! Every step is unique and exciting, It’s all my favourite part! However, I do really love photoshoots, seeing what has been in your head for so long, finally coming to life, and being able to share that with others.

I have seen you have also recently been signed by Finesse Modelling agency here in Adelaide, tell us more about this journey.

Yes! That was something I really wasn’t expecting, it sort of just happened. I’ve been doing this for almost 10 years and as much as I love being behind the scenes, directing photoshoots and taking photos, I must admit, I have grown fond of being on the other side of the camera too. Although, I’m not quite as good as my friends! But you know, people seem to like when I am in photos, to put a face to the products and the hard work. I think this is where my interest sort of grew from, being able to dip my toes in the water for my own brand, and since joining TikTok in 2020, I have been in front of the camera a fair bit. This is something I have grown to enjoy, there is a long way to go, but, I can’t wait to get started with Finesse and to see where the journey takes me!

What has been the biggest challenge through the creation of your clothing brand?

Reaching new people. Especially when starting my first brand at 13 years old.

However, Over the past year and a half I have learnt a lot about social media, especially throughout the pandemic

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Do you have any tips or advice for those wanting to start up their own business?

Take the time to study (YouTube is your best friend), never give up, have selfconfidence and put in the work to make it happen—It will happen!

How are you finding post university life and what are your plans for this year?

University can definitely be tough at times (If you’re reading this and studying Architecture... I feel you). Nonetheless, as difficult as it was at times, there were so many great moments too, I loved it!

However, I’m really enjoying my life away from university. Architecture taught me so much that I have been able to apply through Why Clothing already. Just a side note: even if you’re at university and not sure that what you’re studying is what you want to do in the future, it doesn’t need to be! But, what you learn at university and the opportunities that arise, can still be so valuable and can lead to so many things—even if you don’t know it yet.

One of my good friends said that she ‘wears architecture’... I had never really thought about fashion that way, but she is completely right. And that’s exactly what I plan to do—create wearable architecture!

I have also seen one of your TikTok’s blew up with 1.5 million views, that is incredible!

Did this help with exposure for Why Clothing?

Yes! That was a really crazy time for me, completely unexpected… but, amazing. It 100% helped with getting more exposure, especially outside of Australia. Most importantly, it gave me a lot of belief that I was on the right track and that hard work pays off. Actually, a pretty crazy story that resulted from that viral video was seeing all these videos on my FYP from Mexican actress Isidora Vives, where her friend, Camilla, was wearing one of my hoodies!

Isidora has over 8.2 million followers on TikTok and 1.7 million on Instagram. She posted 3 videos in one of my hoodies, which earned over 3 million views in total... suddenly, Why Clothing hoodies were flooding the streets of Mexico!

Lastly, what can we expect to see from Why Clothing in 2022?

Well, I’m hard at work on my next collection now! Why Clothing Season 7. There are a lot of very exciting things to come this year, and with this next project. I don’t want to get too deep into it and ruin the surprise, but it’s dropping before winter, and is going to be the best collection yet. There will be things that have never been seen or done before with clothing. I really mean that, It’s going to be very special, and I can’t wait to share it with you all! Oh yeah, you’ll probably see a lot more TikToks too...

Sammy McCormack @sammymccormack Why Clothing https://whyclothing.com.au/

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L

Here’s cheers to craft beer!

Stock your fridge, call your mates, knock-off early and get ready for an amber flavoured afternoon—beer drinking is here to stay.

The nectar of the god’s is different to what we once knew, but still oh so satisfying.

. ..

a lk A b o T ut ’s t e

Perhaps drinkers were more closedminded and desired a beer they knew was from their home state—made here and drank here. But it’s 2022, and craft beer is the plumper, fake-tanned, newer, more supreme version of the stubbies we once enjoyed; who doesn’t love a revamp?

Historically, the beer market was led by brands like Victoria Bitter, Melbourne Bitter, Toohey’s and XXXX. Now, in this new era of beer drinking, the market is more varied than ever.

Beer drinking has evolved from the 30-can slab you grab from the pub at 5pm on a Friday, into a multi-million-dollar industry.

Undoubtedly, the white-collar folk are just as thirsty as the blue. The ‘blokes drink’ title is no more, with craft beer coming in zingy pineapple ales and hoppy espressoinspired brews.

Like all consumers do, beer experts found that drinkers wanted something new. So, they delivered. Craft beers are like brewed lollies. If you’re after something sweet, grab a craft beer. If you want something sour, grab a craft beer. If you want something that has a colourful label or funky can— then of course, as you read it, grab a craft beer.

Every occasion that matters in Australia has one thing: beer. Your baby’s first birthday, Christmas, Easter, quitting an old humdrum job, starting in a new position and even likely the first encounter you have with your future —or current—person … Nonetheless, beer is involved. It’s the drink that creates longlasting memories… or the catalyst for no memory at all—but it’s never the beers fault!

Craft beer production in Australia is a multi-million-dollar industry. That must mean singlet-wearing Johno who frequents the bottle-o is storing it. Experts claim that the growing demand for beer over the last five years has allowed producers to operate in every state and territory. What a tasty overflow of options!

Craft beer may be different to the average beer, but a cold beer is cold beer. So, how has the drink changed? Australians originally saw beer as a national drink, consumed by Aussie greats. A famous Castlemaine XXXX advert featured cricket star, Allan Border, sitting in a deck chair holding a cold one. The beer was depicted as Border’s lifeline in the commercial, protecting him from the sun and female beach-goers. But, has our beer-drinking culture evolved? Do we need to see a blokey sportsman lounged on the beach to desire the brew?

If craft beer drinkers are growing by the pint, then why don’t we know who they are? Who are these thirsty people looking to let their hair down? Who has their thirst quenched by a spritz-like, fruity concoction that loosely resembles a beer, and what were they drinking before craft beer?

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F T BEE A R R C words Eliza Dunn illiustration Isabelle Raven

Is it the plaid shirt wearing, tennis-clubdad that wants to be seen with a beer in hand, while also sipping on something slightly more effervescent? Is it the artistic university student who works at a wine bar, ponders the golden mean and wants to impress peers with their acquired taste?

Or is it the seasoned beer-drinker who simply wants to try something new?

No matter the customer, craft beer consumption is steady and on the up.

The Great Australian Beer SpecTAPular crowned the most popular craft beer of 2021 as ‘Bentspoke’s Crankshaft American IPA’. For a second year in a row, the American IPA took out the number one spot, so, rest assured, it’s a winner.

People in the industry believe that almost 85 per cent of all beer sold in Australia is made here, with the beer market driving economic activity and domestic jobs. So, next time you’re enjoying a craft beer, pat yourself on the back. You’re supporting the economy, while staying true to our beer roots.

Beverage Daily says 93 per cent of craft beer drinkers believe that the overall quality of brews are improving. Of all the people they spoke to, approximately 87 per cent of drinkers said they would encourage their family and friends to try craft beer.

As they say in the pubs, bottoms up!

There’s nothing to feel guilty about when cracking open a cold craft brew. If it weren’t for the front-bar locals, now buying a sixpack of craft beers at knockoffs, things might have dried up in the beer world.

Who knows what fate the Aussie beer sector might’ve fallen to—so keep drinking craft beer!

Many craft beers set you back up to $10, and an average beer would only cost $7—meaning you’re paying more for the premium product. The wary should know that craft beer is handmade and not mass produced. The flavours are not catering to a mass market and so often things can get interesting. Small breweries are the backbone of craft beer, and without you kicking back at beer o’clock they’ll struggle to survive!

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PAT I E N C E Eggshell white, A dusting of rose petal blush highlights cheeks, needle in hand, Thimble wedged on blue silk trim, squinted eyes, unmoving lips, A masterpiece of patience awaits—no sign of pin pricks, weathered walls, Carved wooden chair, Motions rhythmic, gently dance like her ringlet hair, dustings of light allure within, The lacemakers craft is patient art.

words Melissa Raymond

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The Observer I am not hurried, I am restfully unmoving here.

The humming of the thriving city, The prattle of white-powdered man, The unkempt look of night, It raises the spirits high.

The perils of the capital, The delusion of peace, The fabricated security of daylight, All of it, a guiltless crime.

Blood, it is pumping.

words Shania Parker illustration Matilda Renaudin

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illustration Kali Ivancevic

illustration Matilda Renaudin

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The Signs as House Plants words & illustrations Kyle Feirclough

Aries

21 Mar – 19 Apr Yucca On the outside, you look harsh and ferocious. But, as it goes, appearances are deceiving—internally, you’re a softy who loves forming deep connections through a range of trivial activities. You also love a great beach day in the sun, even if you aren’t so keen on getting wet.

Cancer

Taurus

21 June – 22 Jul

20 Apr – 20 May

Majesty Palm You’re an emotional sign, but just like the Majesty Palm, when you’re in a bright spot, you’re adaptable and always seem to fill empty corners with loving vibrations in any room.

Venus Fly Trap You’re silent but deadly! You eat anything that you can get your hands on that comes too close. You’re always looking for your next meal. A hunter at heart, with a restless nature.

Leo

Gemini

23 Jul – 22 Aug

21 May – 20 June

Monstera You are impossible to ignore and an attention seeker to the core. You are the loudest and brightest, even in the darkest of corners—But why would anyone put you there?!

Schefflera You flourish among your large number of friends and can’t manage to stop expanding yourself. As you know about yourself, like the Schefflera, you can be mildly toxic when you’re with people you’re not fond of.

Virgo

23 Aug – 22 Sep Moth Orchid You knew this already, but you love the indoors and can’t get enough of it because that’s where you feel you’re safest.

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Capricorn 22 Dec – 19 Jan

Snake Plant You thrive by yourself, and you could outlast all these other plants because you don’t need any attention or help. You are your own boss, and you know it!

Aquarius 20 Jan – 18 Feb

Pinstripe Plant You outshine every other house plant… well at least you think you do. You’re very meticulous about how you present yourself to others and this makes you the most unique of all house plants—as long as you’re being watered and quenched that is.

Libra

23 Sep – 22 Oct Peace Lily We get it, you’re the pretty one! You are the most attractive of all the house plants and when you’re not gracing us with your beauty, you’re cancelling all your toxic friends… and, you’re a little thirsty.

Pisces

19 Feb – 20 Mar Croton One word. Dramatic! Similarly, to the appearance of the Croton, you love being over-the-top and audacious—but only when you’re feeling safe and warm.

Otherwise, your over-emotional self might be shedding a few tears in a vulnerable circumstance.

Scorpio

23 Oct – 21 Nov Spider Plant You are kind of creepy, and when I say kind of, I mean very creepy. You may like well-lit spots, but you have a darkness inside you creeper than any actual spider. Though, it is your unique flair that attracts people to you, and you don’t hide it.

Sagittarius 22 Nov – 21 Dec

Coffee Plant You are full of energy, and you never run out of the fuel that keeps you going. You don’t grab everyone’s attention, but that’s okay, because you don’t need it—you like to grow and expand by yourself. You have your own natural caffeine, and it adds a natural vibrancy to every environment.

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Edition 44 | 2022

comic Nick Kyriazis

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2021 USASA CLUB AWARDS NIGHT The USASA team and their clubs have gathered once again to host their annual Club Awards night, which is held to commend only the most arduous and devoted of their clubs.

The Best Club Merchandise Award, which focused on the creativity to develop or fundraise, went to UniSA Speech Pathology Society, who delivered with their IPA jumpers.

The University of South Australia Student Association’s club community consists of over 90 diverse groups and holds up to 1000 events throughout the year—making the award ceremony much deserved.

Among other awards, the Best Marketing Campaign was allocated to the Tourism and Event Management Club, alongside Best collaborative initiative, which they received in association with the UniSA Marketing Club for their Welcome Back Party.

The UniSA Art Club claimed the Club of the Year title, following a sturdy acknowledgement of their rich engagement with the university’s campuses and students.

Clubs are an invigorating element of university life, and with grand variety at foot, there is almost always an avenue of enrichment for every student seeking a stimulating and wholistic university experience.

The Art Club was also presented with the Janet Henrie Golden Calculator Award for a year of excellent financial management.

Meanwhile, the Women in STEM Club were the well-deserving recipients of the People’s Choice Club, being greatly recognised across campuses and the university community.

In accompaniment, the Women in STEM Club also received Club Event of the Year and the Miscellaneous Award, which changes every year—this year, it was the Break the Internet Award.

USASA 2021 President Noah Beckmann and USASA CEO Daniel Randell

The New Club of the Year was acquired by ChatBox for an outstanding performance concerning their goals and raising the bar, irrespective of being new in the game.

The accolade of Club Executive of the Year went to Emily Cicconi, a studious young woman who represented the UniSA Human Resource Management Club.

USASA Club members and executives enjoying the night

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USASA is here to help you through the good times & the bad. We are a non-profit, student-owned organisation focused on providing services & a voice for all UniSA students.

USASA empowers you through: · Verse Magazine Are you studying externally or online?

· Student Representation · Academic Advocacy

UniSA Online Facebook Group

· Student Clubs · Social Events

(Facilitated by USASA)

· Student Voice · USASA Grants · Financial Counselling · USASA Student Spaces · UniSA Merchandise

Facebook

Instagram

Twitch

Discord

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and emergency grant program, which disbursed over $350,000 in financial support, direct to students. Our financial counselling service also supported students in accessing the University Hardship program, which included a $10 million fund for those doing it tough during the pandemic. Supplementary to our services, our friendly student reps are always here to help you and we’re only ever an email away.

As we enter 2022, there is still much work to be done as we recover from the pandemic, and a key focus of our USASA board in 2022, will be to reinvigorate life on campus.

President’s Letter

One thing that is extremely unique about UniSA is our vibrant social life fostered through our many clubs and societies.

Our clubs go a long way towards enhancing campus culture by hosting many events, get-togethers and competitions throughout the year. For all new students coming to UniSA in 2022, I would recommend checking out our clubs on the USASA website— there really is something for everyone.

My name is Isaac Solomon, and I am the USASA President for 2022. What a crazy couple of years it has been. At the beginning of O-week in 2019, terms like ‘pandemic’, ‘social-distancing’ and ‘quarantine’ were foreign to many of us.

The academic year had just begun, and hundreds of people flooded into UniSA to start the next stage of their lives, myself included. Two weeks later, our new lives would be thrown into complete turmoil by the first of many lockdowns.

In addition to improving life on campus, it is important to recognise the growing online space we have at UniSA. Improving the online experience for students on both an academic and social level is key to our mission of creating a positive university environment for every student.

The way we have responded to this change and adapted over the past two years is a testament to just how resilient we can be as students. The role of USASA in assisting students during this time cannot be understated, and that is one of the reasons I decided to run for USASA President.

As President, my theme for 2022 will be reconnecting. It’s been a strange couple of years, and one of the things we’ve missed most is connecting with others.

Fostering a strong campus culture where everyone can feel safe and included, both in-person and online, is central to our vision as student representatives.

USASA offers a range of services to students. One of the most successful services we have offered through the pandemic is our financial counselling

Isaac

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USASA Academic Advocacy Internship

USASA Academic Advocacy University of South Australia Student Association Advocacy (USASA Advocacy) is a free and confidential service, that supports students in processes relating to academic performance and progress.

Written by USASA SP5, Advocacy Intern, Razia.

What are you studying?

I am studying Bachelor of Laws (Honours)

How can it help students?

Advocacy Officers are experts in academic policies and procedures, such as academic and examination misconduct. They can help you understand what’s happening and what you need to do if you are facing academic issues. However, the most vital role of an advocate is to listen and understand the students’ issues but also be honest about any possible outcome.

Why did you choose to undertake this internship?

I chose to undertake this internship because during the 14-week internship program the interns get the opportunity to grow both professional and personal skills through the scope of a pre-designed internship manual.

How do students book an appointment?

You can request an appointment with the Advocates through the USASA website once you fill the online forum with your detail. An advocate will contact you with the details of the meeting.

What have you gotten out of the internship so far?

During the internship I have been co-hosting meetings with the advocacy officers, which allows me to develop skills such as a non-judgmental environment to respond to distressing situations of the students while ensuring that they have the appropriate information regarding their issue. I have also been working on communication project with the University, and working on these projects has allowed me to develop professional communication skills.

Do I have to pay to speak to an advocate?

No, USASA Advocacy is a free and confidential service, who help students with a wide range of issues concerning assessment policies and procedure.

Do I need to come onto campus to speak to an advocate?

No, you can have meeting with the Advocates through phone or zoom.

How will you use this internship in the future?

This internship has allowed me to acquire professional skills such as taking case notes for clients while attending client meetings with the advocate support, the importance of confidentiality, and professional boundary. They are transferable skills that I can use in the future as a lawyer

USASA Advocates support and assistance has helped hundreds of UniSA Students to pursue their rights.

What advice or wisdom would you share with anyone out there looking to start an internship?

Before you start looking for internships it is important to book an appointment with Career Services to help develop your resume and cover letter; then it is important to consistently lookout for opportunities on Career Hub or any other sites, which offer internships.

What would you do if you have been accused of academic misconduct?

It is important to book an appointment with the advocates to help you understand the process.

Further, the student can go on the university website and find the section regarding academic misconduct in the assessment policies and procedure manual to help them understand their rights.

Find out more at USASA.sa.edu.au/Advocacy

What would you do if you feel a lecturer or tutor is mistreating you?

It is important to immediately raise the concern with your course coordinator to resolve this issue; if the issue is not resolved Advocates at USASA can help you regarding this issue.

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USASA Academic Advocacy

Would you like to intern with us?

The USASA internship is highly valuable on top of your tertiary studies as it combines practical skills and theory by working with students, advocates & advising through policy.

USASA Advocacy Intern

Apply for the USASA Advocacy Internship, a 14 week program focusing on Personal and Professional Development and the University Policies and Procedures.

Successful applicants will receive mentoring from the USASA Advocacy team for each of the core learning areas and learn industry level skills to assist in employability.

Find out more at USASA.sa.edu.au/ AdvocacyInternship

Applications close Sunday 6 March, or keep an eye out for opportunities in SP5.

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Contributors Bethia Holton Chelsie Morey Chloe Morgan Colin Herring Eliza Dunn Ethan Harris Isabelle Raven Jordan White Kaitlyn Davison Kali Ivancevic Kyle Feirclough LOK. Lucy Turczynowicz Matilda Renaudin Andrews Matisse Chambers Melissa Raymond Natalie Bellardino Nick Kyriazis Sammy McCormack Samstag Museum of Art Shania Parker Steven Lipapis Xenia Hackett

@bethiaholtonphotography @moreyarti @chloemorg @elizadunnn @ejharrisart @nevari.indd @jordan.white306 @kaitlyn.dvsn @kali.ivancevic @_kyle.ai @lok.theartist @stoopidart.com.au @matildaradesigns @matissechambers @nataliesart__ @nikkyz_art @sammymccormack @samstagmuseum @shania.parker @steventhomas.arch @xenia_hackett

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