Tag Archives: artists

get to know MALACHI FROST, RARE DNA

What do you do?

I’m a circus side show performer, so what that means is anything from juggling; acrobatics, to contortion; and freak show. So, I hammer nails into my skull; eat fire, and broken glass; bed of nails. All the fun freaky shit, basically.

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What was the journey that lead you to this style of performance?

I always really loved circus growing up. Got around and starting talking to all of the buskers and performers. I started off in the streets as a magician, doing street shows with magic; then got more interested in the circus and the freakier side of things. I don’t do as much magic anymore. I feel that Adelaide has enough talented magicians; but there’s not a lot of side show freaks in Adelaide.

What comments do you get from audiences about your show?

Oh, “is it real?” like the nails that go into the skull, or the power drill, or the glass, and that. Uh, ‘yes’ [laughs]. There’s a lot of stigma around this industry that it’s all smoke and mirrors, and magic. I kind of try to explain the difference to people between ‘magic’ and ‘sideshow’. What we do (sideshow) is real. We’ve trained to push our bodies to that next step. Magic is more… a mental thing. Illusion; they trick, and amaze, and it is amazing.

What do you think appeals to people about your show?

The fact that it is quite different. I mean obviously if you live over in Melbourne or Sydney, where there’s a lot of other side-show performers, that might not apply quite as much, but you know in Adelaide in your everyday life, you don’t see someone drilling into their head, Although we might have seen people do it before at Fringe or at the Adelaide Show; it’s still considered a bizarre thing, really.

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What is Rare DNA?

It started originally for charity event fundraising. I started collecting contacts of a lot of great musicians, beat-boxers, magicians, stilt walkers, burlesque performers. We’d go to the fundraising event and perform, from it we’d take a percentage and the rest would go to the organisers. That’s what Rare DNA started as. That part didn’t take off that much, as say using Rare DNA as the official body of Malachi Frost. It’s become a contact network for event performers, an event entertainment company, I guess. We don’t do the management of an event, we just supply the performers. I’ve just gotten confirmation that Rare DNA is doing the Clipsal; so through Rare DNA it’ll be me and another Adelaide performer doing that.

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How long does it take to prepare for a show?

If I were to create a new street show, it’s a matter of finding out which stunts I’m allowed to do in the street, also scripting. It could be two weeks of head down focus before I can get the 20 minute spot to put onto the street. Whereas if I do a solo show, it’s not so much working out which tricks I can already do, it’s what’s going to be the new stunt. I want a new stunt for every solo show I do. I’ve got two stunts that I’ve been working on for the past two years, and I’m still not happy with them, to perform live. But, a lot of the stage stuff or walk around stuff that we get hired for, it’s a lot of rehashing old routines. So, that’s really quick. I could get a phone call now for a gig to do tonight, I’d decide this that and the other to put in a show for 20 minutes and that’s it.

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Do you have an act/stunt that gets more attention than others?

Ha, yes, the power drill, obviously because you’re putting a running power drill into the skull (after demonstrating it through a plank of wood). So, that one gets a nice big reaction. But the one that people ask about the most is, the glass eating. I only do it at certain gigs, because, well, I’m eating glass, it’s not something I want to do every day. Basically, for the glass routine, you walk and stomp on the glass, and then you pick out a nice looking one, and then swallow it. People will ask ‘is it sugar glass?’, the amount of effort it would take to pick out one piece of sugar glass from out of all of that, and do it in a way that would make it look like I’m eating real glass, it’s easier just to eat the real glass! [laughs] And it usually still has the label on it, because I usually drink from a glass bottle and then smash it.

What’s your most difficult stunt?

The stilt walking. Once you get up on, and can walk on stilts, that’s great, congratulations, but then when you add in a strait jacket, it’s really hard. You no longer have your arms to rely on for balance. For half the time your head is inside a jacket with your arms strapped to your sides. You can’t see anything, you can’t put your hands out. You’re relying solely on your centre of gravity and the sound of the stilts against the ground. It’s difficult to know whether you’re walking to the edge of the stage or not. That’s one of the hardest stunts. Every other stunt though, it gets easier the more times you do it, but you never stop practising.

What do you want people to take from your show?

If there’s one thing I really want to get across it’s that I am Adelaide based. I hear it a lot, “the performers are in Melbourne, Sydney”, or, “if you want to get anywhere, you move out of Adelaide”. I think Adelaide has some great venues, we have great performers, we have the second largest Fringe Festival in the world, only beaten by Edinburgh obviously. Whyy do we have to move somewhere else? Why fly someone from Melbourne when you’ve got someone in Adelaide? Support your own artists.

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What kind of settings and venues do you perform at?

You pretty much adapt for any space or stage.

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Do you have a favourite stunt/act?

Tennis racket contortion. That has always been my favourite stunt. I like trying to make it look as absolutely awkward as possible. It’s the one I have the most fun with.

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What’s one thing we should know about the show?

This show is real, it’s dangerous, do not bring your children to the show if they are easily influenced. With my show, and any other side show genre, we work incredibly hard to train our bodies how to do these stunts safely. It’s not illusion; it’s not fake nails, fake power drills, sugar glass, smoke and mirrors. It’s real and scary sometimes.

How can we see your act?

Hire me [laughs]. For a lot of what I do, I’m not allowed to do it on the streets, so the best way to see what we do is to convince your boss to hire us for a Christmas party or wait for a solo show. If you jump onto the facebook page we always list the shows we’ve got coming up, different functions or corporate gigs, or even if I’m doing some street stuff.

facebook.com/malachifrost.raredna

Malachi Frost as part of Rare DNA are also performing at the Clipsal 500 so be sure to check them out.

*Please note, the photos chosen for this interview are quite PG because the content might not be appropriate for the faint hearted. Please do check out the Malachi Frost; Rare DNA facebook page for more photos.

get to know ZOE WOODS

What do you do?

I make blown and carved glass sculptures that have biological sort of influences, like, the symmetrical structures in cells. I’m also really interested in the optical qualities of glass and the sort of trippy reflections you can get.

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Describe your art

Normally I have fairly solid pieces where I trap a bubble of air inside a solid piece of glass and that bubble reflects some sort of pattern that I’ve carved into the glass. Then I have lenses that act as windows to the bubble so that you can get a little view. I guess I like to think that I’m looking at microscopic patterns.

Glacial Shift, 2014  photo by Rebecca Kammer

Glacial Shift, 2014
photo by Rebecca Kammer

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What inspires you?

I don’t know, just that feeling of wonder: in nature, in the design that nature comes up with, which is crazier than people can come up with [laughs].

Do you have a favourite piece?

I think the most recent pieces that I’ve done. There’s more colour and I guess it’s a bit more graphically interesting than my older work, where I had been working a lot in black and white; and with what’s called a Graal technique.

When do you find yourself being most creative?

In the studio when I’m working. While I’m working I might see something interesting that I hadn’t noticed before. And that makes me think ‘what if I do this next time’. My work is, it’s not like each work is a completely different idea, it’s like a progression of one exploration, I guess.

Bloom, 2014  photo by Rebecca Kammer

Bloom, 2014
photo by Rebecca Kammer

What kinds of comments do you get about your work?

I guess I enjoy it when I see or hear people express wonder like, they don’t quite understand. Yeah, people questioning what they’re seeing. That’s kind of exciting to me, because that’s the kind of feeling that you get when you look at nature, and see something amazing, and are like ‘how’s that possible?’.

What do you think appeals to people about your work?

I’d like to think, or, it might be me just hoping but well, even if people might not know how it’s made, that they can appreciate the quality, of how much time and effort I’ve put into the surfaces and stuff like that. I don’t know, I think people are drawn to symmetry, people are drawn to nature. I guess I kind of hope that the patterns in the work resonate with people because they’re not direct copies of anything in nature but they reference those frameworks of which nature is sometimes based.

Ripple Pair, 2013  photo by Rebecca Kammer

Ripple Pair, 2013
photo by Rebecca Kammer

How long will you sit with a piece until it’s finished?

It does vary. I make the blank in the hot shop with a team of glass blowers and that might take an hour, an hour and a half, then they go into an annealing kiln for a week so they cool down gradually. They need to cool down slowly because the glass needs to be the same temperature throughout or else they’ll crack. So they anneal for a week and then I’ll take them into the cold workshop when and I’ll use stone or diamond wheels to grind on a glass cutting lathe, to cut through layers of colour and create a pattern. And that’s usually between thirty, thirty five hours work. And then, some of them have quite a lot of hand sanding as well, so that’s quite time consuming, they’re a lot of work.

What was the inspiration/influence that directed you to this path?

Well, I went to UniSA and I did two strands of art – I did painting and I did glass. And I think it was just one of those things where if I didn’t like glass I would do painting. I don’t ever really consider myself a sculpture or a sculptural artist but I think with glass I feel more free to do abstract-y sort of stuff. With painting, I was like ‘what do I paint?’. I used to like painting animals, but I just felt like I didn’t want to paint animals my whole life. Whereas with glass I guess I’m so interested in the material that it sort of helps me along with making something interesting that isn’t totally illustrative, it’s a bit more abstract. I feel like my wonder in the material drives the direction of the work and part of the work is about sharing that wonder with the viewer.

Microcosm Pair II, 2013 photo by Rebecca Kammer

Microcosm Pair II, 2013
photo by Rebecca Kammer

What are your influences?

The prints of Ernst Haeckel in the book Art Forms in Nature, which just has the most amazing illustrations of symmetrical forms in nature; and then just my general love of nature, and being outdoors, discovering new things. But also, Bridget Riley’s Op Art from the 60’s big black and white paintings, very crisp lines, they’re illusions. They have that sense of wonder that I hope people get when they’re trying to figure out what’s going on in my work. And I guess just in general the glass community in Adelaide and Australia; there are a lot of artists that I draw different things from. Like, there’s Ben Edols and Kathy Elliot from Sydney who do amazing carvings of natural forms and Kevin Gordon who does amazing organic shapes; Sea Urchin is my favourite one. It’s a really good community of really hard working people, so I guess I’m inspired to work hard by their influence.

Page by Laura Klappenbach - Illustration by Ernst Haeckel. Image Plates from Artforms of Nature. By Laura Klappenbach

Page by Laura Klappenbach – Illustration by Ernst Haeckel. Image Plates from Artforms of Nature. By Laura Klappenbach

Bridget Riley: Bright light 1. 1962.

Bridget Riley: Bright light 1. 1962.

Proteus, 2013 Photo by Rebecca Kammer

Proteus, 2013
Photo by Rebecca Kammer

What constitutes as your first piece?

When I was in second year uni I did these pieces, I think it was called The Inversion Series, and they were these flattened pieces where I did this sand blasted pattern and engraved an animal on the back. The national glass collection is in Wagga Wagga. So, they started up this student glass competition and I was selected as a finalist and I went over there and it was really exciting because the collector bought one of my pieces for the national collection.

Inversion 3 2009, blown glass, sandblasted and drill engraved, photo by Steve Wilson.

Inversion 3 2009, blown glass, sandblasted and drill engraved, photo by Steve Wilson.

How do your first pieces compare to your most recent pieces?

Well, I guess because the glass was thick, I was interested in how that imagery was appearing to stretch around the edges, around the curves. So, from the start I’ve been looking at the distortive qualities of glass. They were all clear, and the pattern etched on the back was a bit more subtle. I think the pieces I do now are bolder in terms of colour, with the really sharp reflections on the inside.

Cosmic Lenses, 2013, photo by Rebecca Kammer

Cosmic Lenses, 2013, photo by Rebecca Kammer

What do you hope happens in the next year?

I hope that I have a studio to work in; I hope to set up a glass cutting lathe at home and get plenty of work made. I’ve got a show in May 2015, at Sabbia, a glass and ceramics gallery in Sydney, it’s probably the best one in Australia, so I’m really excited about that. It’s just a little solo show, and the glass artists Ben Edols and Kathy Elliot have got their show downstairs, and I’m upstairs so I’m really excited. I think I’ll do some smaller projects here and there and enter a few different things and try to keep busy making work but I really want to have a good body of new work for that exhibition.

Where can we find your stuff?

facebook.com/ZoeWoodsGlass

zoewoods.com.au

Being exhibited at BMGArt Gallery until February 22 2014

get to know CHLOE MCGREGOR

What do you do? 

I’m an illustrator!

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Describe your art. 

Loud, ironic, nostalgic.

What inspires you? 

Songs from the bands I creepily crush on, late 80s/90s everything, plastic objects, colour, bold patterns, crazy type, so many things.

Image featured in los angeles based online magazine greasymag.com © chloe mcgregor 2013

Image featured in los angeles based online magazine greasymag.com
© chloe mcgregor 2013

Do you have a favourite piece?

Tony Tempo – a commission I did for Aidy Bryant from Saturday Night Live for her comedian boyfriend Conner O’Malley’s birthday. The funnest of fun to draw, and I’m super proud of it.

Commissioned by Aidy Bryant from Saturday Night Live, for comedian Conner O'Malley and his comedy persona Tony Tempo.

When do you find yourself being most creative?

Always in the middle of the night when I am sleep deprived and should be in bed, ironically.

What puts you in the mood to create?

A Tumblr/Instagram bender, or some loud/good music.

At SALAD DAYS INC (41 gilbert place, adelaide) (august 2-31)

At SALAD DAYS INC (41 gilbert place, adelaide) (august 2-31)

What are you working on right now?

An illustration for the online mag I contribute to; Greasy.

Image featured in los angeles based online magazine greasymag.com © chloe mcgregor 2013

Image featured in los angeles based online magazine greasymag.com
© chloe mcgregor 2013

What do you think appeals to people about your work?

I think it’s lightheartedness and how I poke a bit of fun. Also the nostalgia. Nostalgia is, well, nostalgic!

At SALAD DAYS INC (41 gilbert place, adelaide) (august 2-31)

At SALAD DAYS INC (41 gilbert place, adelaide) (august 2-31)

How long will you sit with a piece until it’s finished?

It really depends on the job, but most of my pieces only take a couple hours.

Describe your creative process.

First I’ll write down some ideas of what my brain is thinking, and possibly draw some thumbnails. I’ll then find appropriate reference photos for the piece, or take reference photos myself, and pop them in a photoshop file to draw from. I then draw from that in pencil to get the image right, then pen/copic it; the best part by far.

Happy Ariel Pink Day

What was the inspiration/influence that directed you to this path?

Ever since I can remember I would spend most of my time drawing. Whether it be pictures of girls in cool outfits or 5000 different variations of my name in different type, I think I was born with illustrator blood. I’ve also always had 150% encouragement from my family and friends to keep drawing, too.

los angeles based online magazine greasymag.com © chloe mcgregor 2013

los angeles based online magazine greasymag.com
© chloe mcgregor 2013

What tools do you use? 

Artline pen, copic markers, pencil for drawing outline.

When did you find your style? The moment in which your work had your mark of recognition on it?

I found it just under two years ago when 3 of my friends and I started an illustration blog, Real Cool Time. For years I was illustrating just in lead pencil or painting, or doing typography work in pen separate to the pencil work/paintings. As much as I enjoyed illustrating in those mediums, I felt these mediums weren’t really portraying my subject matter in the way I visualised in my mind, yet it was a scary thought to try something new and if it was what I wanted it to come out like. It took me a long time to realise after doodling in my sketchbooks with type in pen and copic markers that using those mediums were bringing a whole new life to my work. We started the blog as more of an experimental outlet for us, which I was excited for, so I started doing pen/marker illustrations, but stuck with it for the entire life of the blog as I felt like I had actually found what I had been searching for in my work for a really long time.

real-cool-time.tumblr.com © chloe mcgregor 2012

real-cool-time.tumblr.com
© chloe mcgregor 2012

What do you want people to take from your work?

I want people to smirk and maybe think “hey, that’s pretty cool” . That’s enough for me!

Illustrations exhibited in Adelaide zine vaein's launch. Salad Days Inc Dec 6 - 24 2013

Illustrations exhibited in Adelaide zine vaein’s launch. Salad Days Inc Dec 6 – 24 2013

What do you hope happens in the next year?

Hoping to travel back to America to stuff myself full of inspiration and buffalo wings.

What’s one thing we should know about you?

When I was a kid I had a crush on Tim Curry in the Rocky Horror Picture Show. Yeah.

Where can we find your stuff? 

On all these sites on the webs:

http://www.chloemcgregor.com

http://www.instagram.com/chloe_mcgregor

http://www.theloop.com.au/chloemcgregor/portfolio

http://www.flickr.com/photos/chloemcgregor

http://www.chloemcgregor.tumblr.com

get to know EVELYN DARZANOS

What do you do?

I consider myself a visual artist; my work ranges from hand drawings to paintings. I also do graffiti art and tattoo commissioned art as well.

Sugar Skull 2012

Describe your art.

Dealing with the human body, in terms of beauty, in terms of darkness; I have a passion for anatomy and that shines through in a lot of my work.

2007 Lead pencils and pastel crayons on cardboard.

Lead pencils and pastel crayons on cardboard.

What inspires you?

Everything inspires me. It could be a spider crawling up a tree. It could be the music I’m listening to. An image in a book. The costumes that I wear, because I do Greek folkloric dancing, the details of the costumes… everything, everything.

Cretan: canvas and acrylic paint

Cretan: acrylic on canvas

Vovousa

Vovousa: acrylic on canvas. *Note: Vovousa is name of the costumes worn in the image and is also a region of Greece situated in Eastern Epirus.

Vovousa: acrylic on canvas
*Note: Vovousa is name of the costumes worn in the image and is also a region of Greece situated in Eastern Epirus

Do you have a favourite piece?  

This is hard…I’d have to say the anatomy head just there. Yeeah, I worked hard on that one. I used oil pastels so the layering of that was a bit of a work out [laughs]. Because I had to start with the base layers, then I had to add on the different colours, and then scratch out the finer fibres in the muscles and tissues. I just love the way it turned out. You can see the intricacy and detail of that. So, that’s what I love about it, just the human body baring it all.

Lead pencil and pastel crayons on paper

Lead pencil and pastel crayons on paper

When do you find yourself being most creative?

You know a lot of times when I walk outside and it’s a beautiful day, I can just get my spray cans or something and spray away. For me it’s about the mood,  I have to be in a good mood to work. I work better when I’m happier. If I’m down I’d rather just sit down and chill. The light affects me as well. Have you ever heard of “winter depression”? You don’t get enough sunlight it sort of depresses you, and artists work with a lot of light, so sunlight helps a lot.

Lead pencil and water colour pencil

Lead pencil and water colour pencil

What are you working on right now?

I’ve just finished a tattoo job. That was a big piece. The final product looks amazing. I’ve also just been commissioned for another tattoo job, so this one is adding to an existing piece, and we’re just working together to see what we can come up with.

For your tattoo art commissions, are you given images to simply replicate or are you given ideas to then materialise into an image?

It works both ways actually; some people give me free creative reign. They give me an idea, so say if they want something religious, I do extensive research to make sure that it’s correct; because the last thing you want is for a person to have an image tattooed permanently to their body that is just completely wrong. Other people give me images to collate together just to work out a piece for them.

Grid Girl

Do you ever feel that you’re more passionate about the image and the history of it than the person you are drawing it for?

[laughs] Yeah sometimes, sometimes. I ask them a lot of questions too, really badger them about it, because sometimes a person doesn’t realise what the image they want actually represents and signifies. ‘Are you sure you actually want this? But are you sure?’

What do you think appeals to people about your work?

The one thing that I’ve noticed with a lot of people is that they love the detail, that’s the one thing that people always comment on. The harder a piece is, the more I get out of it, I find.

Mural1

Mural Process

Mural 2013: Artline marker on painted cafe wall. Café Le Classique, Moonee Ponds, Melbourne Vic.

Mural 2013: Artline marker on painted cafe wall. Café Le Classique, Moonee Ponds, Melbourne Vic.

Drawing Portafilter 22-05-2013 5 20 44 pm      Drawing Coffee Machine 22-05-2013 5 21 27 pm

How long will you sit with a piece until it’s finished?

Oh I’ll sit there for as long as it takes. For example for this tattoo piece I worked on recently, it was on an A2 size sheet and it was of the Egyptian god Anubis, god of the underworld and it was for an entire back tattoo. I worked for over 60 hours, and one day I worked for 10 hours straight. So, as long as it takes to finish a job, yeah. Especially if it’s commissioned, then the sooner it’s done, the better, because I don’t like to keep people waiting.

Anubis 1

Anubis 13

Anubis 10

Tattoo Details: Tattoo and adjustments to the design, done by Shep. The Body Art Shop 1/53 Grange Rd. Welland South Australia Australia

Tattoo Details: Tattoo and adjustments to the design, done by Shep.
The Body Art Shop
1/53 Grange Rd.
Welland
South Australia
Australia

Describe your creative process.

It varies. If it’s just for me, my own personal project, then I just wake up and do it. I’ll sleep on it and I wake up the next day, I can picture it, and it’s done. That was something that annoyed all my teachers through uni and high school, because it was compulsory to keep journals of our work and I could never, never do it. All my ideas are stored in my brain and that’s how I work. They were always asking me how I’m doing it and I was like ‘look I’d sleep on it, and it was there, that’s it, you know?’ and they would be like ‘but surely you’ve seen it somewhere’ ‘yeah, somewhere, in the back of my brain’ [laughs]. But if the piece is for someone else, that’s when the research comes in.

Untitled1

Mixed media on A0 Litho paper

Mixed media on A0 Litho paper

What tools do you use?

Felt tip pen; water colour pencils; oil pastel crayons; spray paints; ink; collected cards; different media; paper; paint; conte crayons; conte chalks; graphite, and more!

Homage to Duchamp: Spray paint, Artline permanent marker acrylic paint and bicycle wheel

Homage to Duchamp:
Spray paint, Artline permanent marker acrylic paint and bicycle wheel

What constitutes as your first piece?

Actually, I was quite proud of a line drawing I had done back in uni, it was a portrait of my sister. In saying that, a fellow student at uni liked it so much that she really wanted it and she actually asked me for the piece, and I gave it to her. She actually loved it as much as I did, but I found it okay to part with. In the beginning I wasn’t able to part with my work, but you know, as years sort of drag on you’re sort of able to let things go.

How has your technique changed over time?

I’ve grown up in a family, in a place where perfection is everything. Colour inside of the lines, draw perfect pretty little pictures etc. and that continued all through high school. As soon as I got to uni they threw all that out the window. Back to basics, right? So to do a line drawing, that means you have to look at the picture, without looking at the page. And I was like ‘but don’t you want perfect pictures?’ and they’re like ‘no, you are going to find your own style through this process’ and I did. It helped me to look at things better, take in the detail.

What do you want people to take from your work?

I don’t know…..I really don’t know….it’s a hard question, I guess, I hope that it just makes them happy.

Spray paint and charcoal on canvas

Spray paint and charcoal on canvas

What do you hope happens in the next year?

I’ve wanted to put together an exhibition and hopefully 2014 is the year.

Where can we find your stuff?

You can’t [laughs] I don’t have a website or a facebook page or anything. People have always commissioned me through word of mouth.

To check out more of Evelyn Darzanos’ work, you can contact her via

Email: edarzanos@live.com.au

get to know LAUREN ABINERI

What do you do? 

I guess at the moment I’m making sculptures. I’ve just finished my honours year at the South Australian School of Art. I make sculpture with materials that I feel a strong aesthetic attraction to. And I’m really interested in particularly kind of feminist and girly and feminine aesthetic tropes that I like to work with in the work but I’m more interested in their gestural possibilities in a sculptural format.

What inspires you?

Umm, pop culture, definitely. There’s a cartoon from the 80’s (called Jem) that I started watching sort of at the start of my honours year and it slowly filtered its way into my final paper and body of work. http://en.wikipedia.org/wiki/Jem_(TV_series). There’s an interesting cyber-punk element to the tv show amongst all these girly themes. So I was really interested in those kind of collapses between girly and feminine topics…and stuff, and things that could be feminist. Which then draw me to different materials that I feel could be plucked out of those kinds of TV shows and tropes. Probably, as derivative as it sounds, grabbing holographic material after watching a TV show that’s exclusively about holograms [laughs]; so, you know grab that, and pink, and glittery plastic.

jem3

Do you have a favourite piece?

There was one piece from my third year I really liked. It was called…well I’ll get to that. It consisted of a porcelain vagina that I sculpted from a picture from a pornographic magazine, and I was playing around with it and I turned it upside down, and realised that the hood became quite a nice turret I suppose, like a balcony almost. And, I had this broken glitter globe that had a little fairy in it, only about a cm tall, but there was this little fairy just hands on her hips sitting in her little kingdom and with a little stick, I knocked her off, and glued her to the turret, put the vagina straight on the wall and put a round frame over the top and then I called it, Kingdom..

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What was the creative process behind Kingdom?

So from lots of different pictures and drawings I would eventually make a hand built sculpture of a vagina and fire it and then I would fire it again with a little clear glaze on the lips to attempt a kind of realism and then put it in contrast with something that’s not real, like a fairy and something that’s so small and not to scale at all. It was lucky, the vaginas in the fire ended up shrinking to almost life size, so that was a fun happy accident. I remember purposely making them 10 to 20 percent bigger so that when they did shrink it could almost not dwarf it, not make it look like a caricature because I was trying to attempt that realism that I had been searching for, I just didn’t make an effort to [laughs] until I realised, maybe it is important that it actually does look like a real vagina because I’m going to be putting it with other objects and turning it upside down, so it’s a little bit unrecognisable again. So, I was also interested in also looking at the vagina as not just a didactic image, and that it could be represented in different ways. Which sort of gave way to my more sculptural practice this year.

Is that a common theme that you find in your work?

Maybe it’s more so other people that are familiar with my work, they’ll say ‘is this one a vagina, Lauren?’, you know, and sometimes I say ‘well yes, it could be’ because there are obvious vaginal connotations in some of these works, the way that they fold or the way that they’re wet looking, or they might be pink, but, you know, uber pink, or uber shiny, or uber wet. These kinds of almost camp images of the vagina or a hyper femininity that I like to play with.

When do you find yourself being most creative?

I think when I’m buying my materials, or looking at materials, or playing with materials, like I find it very difficult to sit down and plan an art work. I feel like I’m a bit more open to planning ideas or open to sitting down and thinking about it once I have materials that are really like ‘BAM’, I want that one that one’s really gorgeous and, I need that. Whilst they’re all different materials, I like them to read as one object. I’m interested in a lot of abstract paintings and the idea of composition and problem solving and balancing. So, I think of that when I’m making sculpture, it’s almost like a painting than a sculpture.

What do you hope happens in the next year?

I’d like to have another exhibition, do some volunteering maybe hang out with some high school kids and help out, and I’d like get a studio space.

What tools do you use?

Textile materials, forms of plastic, porcelain, clay, random objects: figurines, plaster animals, and toys, cases and frames, and bells jars, and more…

What constitutes as your first piece?

I feel like this piece that we’re standing before is one of my first pieces, I’ve called it Only the Beginning so I guess that’s appropriate; and Kingdom was almost the pre-cursor, so I’ve sort of fine-tuned what I was looking at. I’ve called it Only the Beginning after a Jem song because it’s the first Jem song I’d ever heard, and my favourite Jem song.

Only The Beginning

Where can we find your stuff?

The SASA gallery which is in the Kaurna building at the UniSA City West campus, until the 18th of December.

You can contact Lauren Abineri via:

Email: lauren.abineri@hotmail.com

Instagram: laurenabineri