Tag Archives: get to know your adelaide artists


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.


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.


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.


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.


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.




What kind of settings and venues do you perform at?

You pretty much adapt for any space or stage.

1233389_641581982526257_1795049864_n (1)

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.


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.


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.


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


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?



Being exhibited at BMGArt Gallery until February 22 2014


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: 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.


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.
South 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.


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


What do you do?

I’m an illustrator. I guess I would call myself a fashion illustrator.

Nailpolish theme

Describe your art.

It’s very traditional, I guess, because I use pencil and ink. They’re kind of candid images, sort of caught in the moment.

What inspires you? Do you think it comes through in your work?

Uuh, fashion magazines: Foam, Vogue, Ellle, Frankie, Rush; even just a lot of street press, I find really inspiring, City Mag. Things that are captured beautifully, captured photographic moments. I think it definitely comes through in my work. It’s not any one thing; it’s just the whole vibe. I think you can certainly tell what kind of person I am through my illustrations. What I want people to see me as…

Do you find that the characters you draw represent you i.e. your shyness and your modesty?

I think I draw people who are more stylish and better looking than me [laughs]. They’re so different from me, it’s like I’m drawing someone from another world. Beautiful, glamorous, socialite.

Do you have a favourite piece?

Um, noo. I think every piece I’ve done, after I finish it, is my favourite and then I’ll hate it like a week later [laughs].

What kinds of comments do you get from audiences and family and friends?

Uh, I get positive comments, but then sometimes I think, are they just saying that because they’re my friends? [laughs] Sometimes I do miss that critique that you get when you’re at uni; but then again, I’m pretty hard on myself. I’ll re-do something a few times if I’m not happy with it, and my mum or a friend would be like, “it was fine in the first place, why did you bother?” but I have to think it’s okay. That’s the good thing about anxiety [laughs] you can rely on yourself for an honest and harsh critique.

What do you think appeals to people about your work?

I think people can relate to it because it’s quite modern; it kind of compliments street style photography, but with illustration. And the clothes in the images are street wear so people can find themselves in the pictures.

Do you have a type of piece that seems to get more attention than others?

Yeah, it’s always pieces that aren’t actually my favourites. Sometimes someone will contact me about something they’ve seen on my blog, and be like ‘I want it like this one’, and I’m like ‘really? That one?’ which makes me sometimes question my own…but I think you need to stay true to what you think is right, because they’re coming to your vision.

Do you have a favourite place to create?

At my kitchen table; it’s actually really ergonomically bad buut it’s just really bright, because we have a hexagonal room with all glass, and the TVs there, and it’s near the fridge so… I’ve actually got a proper desk and chair in the shed, but it gets really dark in there, so I just prefer sitting at the table.

Describe your creative process.

I sort of composite images, so I’ll do the drawing and do the ink separately, and then composite them on my computer. But it’s mainly all by hand, because I’m pretty terrible with computers. I just don’t like sitting in front of the computer for ages. I remember my illustration teacher telling me “you’ve got to feel the paper to the pencil” and I do think that stuff’s important. And I’m faster by hand than with a computer any way. I like it; I think people are going back to crafty, handmade things because everything nowadays is so modern, so it’s refreshing, sometimes, to see something more natural. That said – if I could do something on a computer I would, but it’s hard [laughs]. It’s so cool when you think of the classic masterpieces and think that they did that all by hand. Just think of the mental anguish they would put themselves through! And if they made a mistake, they had to start again!

Daniella Caruso’s illustration featured in Company magazine

What constitutes as your first piece?

I don’t know, I’ve been drawing my whole life, so I couldn’t really tell you… um, I think when I was in year 10 and I did art; I did a few pieces. And I did this one drawing with flowers, and I did it with colour pencil, which I don’t even use now, because coloured pencil is quite difficult. I’ve still got it, and I look at it still now and I’m like “that’s pretty good”. I’ve always been told that I’m a good drawer but I needed to feel good in myself and I think that picture made me feel like, okay, yeah, I’m okay at this. The first picture I sold? I don’t think I would’ve been very happy with it [laughs]. A lot of stuff I did at uni I wasn’t very happy with, because you want to be the best you can be but you’re kind of still learning.

How does your last piece compare to your most recent piece?

I think earlier on I was very focused on things looking exactly as they did in real life whereas now I’m like, they don’t have to…sometimes it’s better if they don’t. If you put your own spin on it, it can actually be more effective. You know like splash ink across it and make it more your own.

What do you want people to take from your work?

Well, I look at the work of a lot of other illustrators and it inspires me, I guess I’d like for other illustrators or people who want to do illustrating to be inspired by my work, even in like a mood board sense. That would be cool. ‘Cos I guess I kind of create more pretty pictures, I’m not really talking about any issues.

What do you hope happens in the next year?

I just want to be working more regularly in illustration. I think I could get more work if I just pushed myself. By being shy and not putting myself out there, I’m only harming myself.

Where can we find your stuff?


instagram: daniella_draws

You can also contact Daniella via

email: caruso.daniella@hotmail.com

Foolsandtrolls Design and Print Your Own T-Shirt Workshop Fringe Event

“Come to the Glenelg foreshore Saturday afternoons during Fringe and print your own T-shirt design. Bring along a simple drawing or sketch one on the day and paint a screen to print on a T-shirt. Bring along your own light coloured shirt or plain shirts will be available to purchase.

Dave Court is an Adelaide based artist – ‘I paint, illustrate and screen print tshirts’ Browse my shirts and such at http://www.foolsandtrolls.bigcartel.com

foolsandtrolls is a small, Adelaide based label. All tees are printed on ethically manufactured shirts made in Melbourne, all designs are created by Dave and screenprinted with water based inks. Pocket tees are hand painted with screenprinting ink and hand sewn.

Dave strives to make top quality garments in a way that is environmentally and ethically responsible as is possible. Each printed tee is numbered to its edition and pocket tees are one of a kind.”

Follow the link for more details:


get to know DAVE COURT

What do you do?

I paint and screen print mainly; and I do t-shirts as well. ‘Fools and Trolls’ is the name of the (T-shirt) brand, and I’ll be, yeah, hopefully devoting more time to that next year, but working on both still.

What inspires you?

I think, on that sort of thing, I like the Chuck Close quote you know the “Inspiration is for amateurs. The rest of us just show up and get to work.” I think inspiration is rare and not very sustainable

Do you have a favourite piece?

Uuh, I don’t know; they’re like children, they’re all special in their own way; but not a single favourite.

When do you find yourself being most creative?

I try to work even if I don’t feel creative. But I guess I have different phases of working. Like I’ll do a lot of screen printing work, which is you know very precise and clean, and very time consuming, and tidy. And then I’ll be sick of that and want to do some messy painting and make a mess; and then I’ll be painting for months and months and then be sick of that and do like a pencil drawing. Yeah, I just go through cycles I guess.

What are you working on right now?

The screen printing a lot and I’ve just finished all of the honours stuff which is pretty exhausting. So just screen printing at the moment, mainly. And I’m hoping to start painting regularly next year again, even though I don’t have anything in particular that I’m working towards, like I don’t have a show coming up or anything, but I’ll keep working on stuff.

What kinds of comments do you get from audiences and family and friends?

It’s all really different. I talked about this in my exegesis as well, I had a thing, it was for SALA. I got given this shipping container at Mosley  Square to have an exhibition in. And the comments from that were interesting… A lot of people have always said about my work “ooh my kids would love that” because I guess I have that kind of look, even though I’m not trying to produce ‘kids arts’, I guess that’s what people see it as [laughs]. Well, parents say that. But then there are people like me, who aren’t parents, and are like “I love that” and it’s good. But yeah, the most interesting comment is, yeah “my kids will love that”.

What do you think appeals to people about your work?

I try not to focus on what other people like about it because then I’ll get stuck making for other people, which is a bad place to be. So I try making things that I like and I want to see. So, I guess I draw it from all kinds of different places and things that I find interesting. And a balance of different things, like a balance of the detail and the messiness, and flatness, and texture, and all that.

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

Depends, really. The two pieces that were in the (SASA gallery graduate) exhibition, I worked on bits and pieces all year; but some others I would do in like an afternoon or a week or something, it really varies a lot. That’s the tricky thing, deciding when to stop, and I think that affects my work more because of the way that I work. There’s a lot of layering. I guess I would just keep going, and that’s what decides the stop, the fact that it’s due. I just keep going as far as I can, keep trying to make it better and better.

Do you think that’s going to inhibit you when you stop studying?

I hope not. I would do it in different ways, I’ll have some that are like long term pieces; then others that I’ll do until I like the look of them, and then not look at them again.

Describe your creative process.

I guess it’s the same process for all of the pieces. I’ll read stuff and look at stuff and absorb everything that I think is interesting or that I like the look of or that grabs me, and I’ll kind of vomit it back onto the canvas and then play with it and pull it around, mess with it until it looks good.

Do the images that you combine together relate to each other in some sense or is it more the aesthetic collation that appeals to you?

A bit of both. They’ll generally be from something that I’m interested in in that moment, or if I’m researching in a particular area. Like, these ones here were influenced by propaganda posters and books that was a phase I went through. Sometimes they’re related, sometimes they’re contrasting.

Do you have a piece/type of piece that seems to get more attention than others?

I guess the ones that are colourful and have pretty girl faces [laughs]. That old chestnut.

Do you think that that aesthetic appeal, “colour, and pretty girl faces” delivers the same appeal over all the various media you use?

Yeah, I guess that was kind of my idea with the skateboards. Will it get the same reaction? That was a thing as well because a lot of people would come to the exhibition I had on and would be like “yeah skateboards!” and that’s what drew the person in, so I guess it’s like a different  entry point to looking at art.

What tools do you use?

Everything. All sorts: paintbrushes; scrapers; knives; I’ll set fire to stuff.

Where can we find your stuff?




instagram: @dave_foolsandtrolls

You can contact Dave Court via:

email: davecourtfoolsandtrolls@gmail.com

Dave Court has also been selected to showcase his work at the Helpmann graduate exhibition, so be sure to check out his work there; and the work of many other talented South Australian artists. February 14 to March 9 2014.


Dave Court is also hosting a ‘Design and Print Your Own T-Shirt’ workshop Saturday afternoons during Fringe. Make sure you mosey on down and get creative.


Support your Adelaide artists!

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.


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..


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